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                             THE DEPARTED                                                         Writtenby                                     William Monahan                                                  Based on Infernal Affairs                              SCRIPT AS SHOT COMPILEDSEPTEMBER 2006                                        FADE UP ON                    THE SOUTH BOSTON HOUSING PROJECTS. A MAZE OF BUILDINGS          AGAINST THEHARBOR.                                           COSTELLO (V.O.)                       I don't want to be a product of my                       environment. I want my environment                       to be aproduct...of me.                    YELLOW RIPPLES PAST THE CAMERA AND WHEN IT CLEARS WE SEE          THROUGH DIESEL SMOKE: A BUSING PROTEST IN PROGRESS.THE          SCHOOL-BUS, FULL OF BLACK KIDS, IS HIT WITH BRICKS, ROCKS.          N.B.: (THIS IS NOT SETTING THE LIVE ACTION IN 1974; IT IS A          HISTORICAL MONTAGE, THEBACKGROUND FOR COSTELLO'S V.O.).                    INT. THE AUTOBODY SHOP. DAY.                    COSTELLO's profile passes in a darkroom.                                           COSTELLO (V.O.)                       Years ago, we had the Church. That                       was only a way of saying we had                       each other. The Knights ofColumbus                       were head-breakers. They took over                       their piece of the city.                    EXT. SOUTHIE. VARIOUS                    The neighborhood. 1980's. Wewon't be here long. This isn't          where Costello ends up. It's where he began. Liquor stores          with shamrocked signs. MEN FISHING near Castle Island.          Catholic SCHOOLKIDS playing in an asphaltedschoolyard.                                           COSTELLO (V.O.)                       Twenty years after an Irishman                       couldn't get a job, we had the                       presidency. That's what theniggers                       don't realize. If I got one thing                       against the black chaps it's this.                       No one gives it to you. You have to                       take it.                    INT. LUNCHCOUNTER. DAY                    COSTELLO comes in. The shop is one that sells papers,          sundries, fountain drinks...and fronts a bookie operation.                                           YOUNGCOSTELLO                           (leaning over cluttered                            counter)                       Don't make me have to come down                       here again.                                                                                (CONTINUED)                                                                                2.          CONTINUED:                                                     PROPRIETOR                       Won't happen again, Mr. C.                    The frightened proprietor hands over money. Fifty bucks, a          hundred, doesn't matter. COSTELLO is never thethreatener.          His demeanor is gentle, philosophical. Almost a shrink's          probing bedside manner. He has great interest in the world          as he moves through it. As if he originally came from a          differentworld and his survival in this one depends on close          continual observation and analysis.                    YOUNG COLIN looks up. CLOSE ON his eyes. He is fourteen or          fifteen, but small for his age.Bookish.                    COSTELLO eyes the proprietor's TEENAGE DAUGHTER, working          behind the counter. He takes a propane lighter, and,          strangely, pays for it (the proprietor startled) andwaits          for change. He lights a MORE cigarette with the lighter.                                           YOUNG COSTELLO                       Carmen's developing into a fine                       young lady. Youshould be proud.                       You get your period yet, Carmen?                    The PROPRIETOR is uneasy. COSTELLO turns to YOUNG COLIN          (about 14) staring at the local hero. Costello reachesup          above and behind the counter and takes down some cigarettes.                                           YOUNG COSTELLO (CONT'D)                       You Johnny Sullivan'skid?                    COLIN nods.                                           YOUNG COSTELLO (CONT'D)                       You live with your grandmother?                    COLINnods.                                           YOUNG COLIN                       Yeah.                    COSTELLO tells the Proprietor to takes three loaves of bread          and some soup off the shelves andputs them in Colin's bag.                                           COSTELLO                       Get him three loaves of bread. And                       a couple of half gallons of milk.                       And somesoup.                    He goes over to the fridge and puts two half gallons of milk          in the bag. Some soup. Costello turns to Colin.                                                                                (CONTINUED)                                                                               3.          CONTINUED:(2)                                                  COSTELLO (CONT'D)                    Do you like comic books?                    Colin nods.   He adds a couple of comicbooks.                    When the PROPRIETOR looks at him, he takes out the money he          put in his pocket and gives back half.                                        YOUNGCOSTELLO                    You do good in school?                    YOUNG COLIN nods, holding the big bag ofloot.                                           COLIN                    Yes.                                        YOUNG COSTELLO                    That's good. I did good in school.                    They callthat a paradox.                    He gives some money to Carmen.                                        YOUNG COSTELLO (CONT'D)                    Buy yourself some makeup. Keepthe                    change.                    Looks intently at COLIN to see if he gets it.    Colin does.                                        YOUNG COSTELLO (CONT'D)                    You ever want to earna little                    extra money, you come by L street.                    You know where I am on L street.                    COLIN nods: everybody does.                                           YOUNGCOLIN                    Thank you.                    He pushes out with the bags of groceries.                    The PROPRIETOR can do shit about it.                    YOUNG COSTELLO watchesYOUNG COLIN go off down a slummy          street.                    INT. A CHURCH. MORNING. 1985-ISH                    YOUNG COLIN, the good boy, the very good boy, is serving ata          funeral Mass. Various views of the church. Stained-glass          light. The altar is still wreathed in the smoke of incense.                                                                                (CONTINUED)                                                                                4.          CONTINUED:                                                     PRIEST (V.O.)                       To you, O Lord we commend the soul                       of Alphonsus, your Servant; in the                       sight of this world he is now dead;                       in your sight may he liveforever.                       Forgive whatever sins he committed                       through human weakness and in your                       goodness grant himeverlasting                       peace.                                           ALL                       Amen.                    CLOSE on COLIN'S face.                                            PRIEST(VO)                       May the angels lead you into                       paradise; May the martyrs come to                       welcome you and take you to the                       holy city, The new andeternal                       Jerusalem.                    A liturgical bell tings.                    INT. THE AUTOBODY SHOP. DAY                    COSTELLO is talking informally (we realize thatthis is a          continuation of the philosophical talk, the shadowy pacing).          YOUNG KIDS. Useful young men. YOUNG COLIN, three years older,          is amongthem.                                           YOUNG COSTELLO                       Church wants you in your place.                       What sort of man wants to be kept                       in his place? Do this don'tdo                       that, kneel, stand, kneel,                       stand...I mean if you go for that                       sort of thing...                    YOUNG COLIN, the recent altar boy, visibly doesn't go for          thatsort of thing.                                           YOUNG COSTELLO (CONT'D)                       I don't know what to do for you. A                       man makes his own way. No one gives                       it toyou. You have to take it.                           (a beat)                       Non serviam.                                           YOUNG COLIN                       James Joyce.                                                                                (CONTINUED)                                                                                5.          CONTINUED:                                                     YOUNG COSTELLO                       Him and Lucifer. And me.                           (to the room)                       Guineas from the North End and down                       Providence, tried to tell mewhat                       to do...And something maybe                       happened to them.                    EXT. A REMOTE BEACH. DAWN                    Rose-colored dawn. YOUNG COSTELLO, witha pistol, executes a          MAN kneeling in the surf. She falls on the body of a man who          has just been executed.                                           COSTELLO                       Jeez, she fellfunny.                    FRENCH moves forward with an axe in his hand.                                           FRENCH                       Frank, you gotta see somebody.                    They goabout their business.                    INT. THE AUTOBODY SHOP. DAY                    YOUNG COSTELLO walking, talking...Not continuous with the          above. We see that only YOUNG COLINis present.                                           YOUNG COSTELLO                       You decide to be something, you can                       be it. That's what they don't tell                       you, the


ï»¿Project Gutenberg's Peter Pan in Kensington Gardens, by J. M. BarrieThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Peter Pan in Kensington GardensAuthor: J. M. BarriePosting Date: August 27, 2008 [EBook #1332]ReleaseDate: May, 1998Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PETER PAN IN KENSINGTON GARDENS ***Produced by Ron BurkeyPETER PAN IN KENSINGTON GARDENSBy J. M.BarrieCONTENTS     Peter Pan     The Thrush's Nest     The Little House     Lock-Out TimePeter PanIf you ask your mother whether she knew about Peter Pan when she was alittle girl she will say, "Why, of course, I did,child," and if youask her whether he rode on a goat in those days she will say, "Whata foolish question to ask, certainly he did." Then if you ask yourgrandmother whether she knew about Peter Pan when she was a girl,shealso says, "Why, of course, I did, child," but if you ask her whether herode on a goat in those days, she says she never heard of his having agoat. Perhaps she has forgotten, just as she sometimes forgets yournameand calls you Mildred, which is your mother's name. Still, she couldhardly forget such an important thing as the goat. Therefore there wasno goat when your grandmother was a little girl. This shows that, intellingthe story of Peter Pan, to begin with the goat (as most peopledo) is as silly as to put on your jacket before your vest.Of course, it also shows that Peter is ever so old, but he is reallyalways the same age, so that doesnot matter in the least. His ageis one week, and though he was born so long ago he has never had abirthday, nor is there the slightest chance of his ever having one. Thereason is that he escaped from being a humanwhen he was seven days'old; he escaped by the window and flew back to the Kensington Gardens.If you think he was the only baby who ever wanted to escape, it showshow completely you have forgotten your ownyoung days. When David heardthis story first he was quite certain that he had never tried to escape,but I told him to think back hard, pressing his hands to his temples,and when he had done this hard, and evenharder, he distinctlyremembered a youthful desire to return to the tree-tops, and with thatmemory came others, as that he had lain in bed planning to escape assoon as his mother was asleep, and how she had oncecaught him half-wayup the chimney. All children could have such recollections if they wouldpress their hands hard to their temples, for, having been birds beforethey were human, they are naturally a little wild duringthe first fewweeks, and very itchy at the shoulders, where their wings used to be. SoDavid tells me.I ought to mention here that the following is our way with a story:First, I tell it to him, and then he tells it to me, theunderstandingbeing that it is quite a different story; and then I retell it with hisadditions, and so we go on until no one could say whether it is morehis story or mine. In this story of Peter Pan, for instance, thebaldnarrative and most of the moral reflections are mine, though not all,for this boy can be a stern moralist, but the interesting bits about theways and customs of babies in the bird-stage are mostly reminiscencesofDavid's, recalled by pressing his hands to his temples and thinkinghard.Well, Peter Pan got out by the window, which had no bars. Standingon the ledge he could see trees far away, which were doubtless theKensingtonGardens, and the moment he saw them he entirely forgot thathe was now a little boy in a nightgown, and away he flew, right over thehouses to the Gardens. It is wonderful that he could fly without wings,but the placeitched tremendously, and, perhaps we could all fly if wewere as dead-confident-sure of our capacity to do it as was bold PeterPan that evening.He alighted gaily on the open sward, between the Baby's Palace andtheSerpentine, and the first thing he did was to lie on his back and kick.He was quite unaware already that he had ever been human, and thought hewas a bird, even in appearance, just the same as in his early days,andwhen he tried to catch a fly he did not understand that the reason hemissed it was because he had attempted to seize it with his hand, which,of course, a bird never does. He saw, however, that it must bepastLock-out Time, for there were a good many fairies about, all too busyto notice him; they were getting breakfast ready, milking their cows,drawing water, and so on, and the sight of the water-pails made himthirsty,so he flew over to the Round Pond to have a drink. He stooped,and dipped his beak in the pond; he thought it was his beak, but, ofcourse, it was only his nose, and, therefore, very little water came up,and that not sorefreshing as usual, so next he tried a puddle, and hefell flop into it. When a real bird falls in flop, he spreads out hisfeathers and pecks them dry, but Peter could not remember what wasthe thing to do, and he decided,rather sulkily, to go to sleep on theweeping beech in the Baby Walk.At first he found some difficulty in balancing himself on a branch, butpresently he remembered the way, and fell asleep. He awoke longbeforemorning, shivering, and saying to himself, "I never was out in such acold night;" he had really been out in colder nights when he was a bird,but, of course, as everybody knows, what seems a warm night to abirdis a cold night to a boy in a nightgown. Peter also felt strangelyuncomfortable, as if his head was stuffy, he heard loud noises that madehim look round sharply, though they were really himself sneezing. Therewassomething he wanted very much, but, though he knew he wanted it, hecould not think what it was. What he wanted so much was his mother toblow his nose, but that never struck him, so he decided to appeal tothefairies for enlightenment. They are reputed to know a good deal.There were two of them strolling along the Baby Walk, with their armsround each other's waists, and he hopped down to address them. Thefairieshave their tiffs with the birds, but they usually give a civilanswer to a civil question, and he was quite angry when these two ranaway the moment they saw him. Another was lolling on a garden-chair,reading apostage-stamp which some human had let fall, and when he heardPeter's voice he popped in alarm behind a tulip.To Peter's bewilderment he discovered that every fairy he met fled fromhim. A band of workmen, whowere sawing down a toadstool, rushed away,leaving their tools behind them. A milkmaid turned her pail upside downand hid in it. Soon the Gardens were in an uproar. Crowds of fairieswere running this way and that,asking each other stoutly, who wasafraid, lights were extinguished, doors barricaded, and from the groundsof Queen Mab's palace came the rubadub of drums, showing that the royalguard had been called out.Aregiment of Lancers came charging down the Broad Walk, armed withholly-leaves, with which they jog the enemy horribly in passing. Peterheard the little people crying everywhere that there was a human intheGardens after Lock-out Time, but he never thought for a moment that hewas the human. He was feeling stuffier and stuffier, and more and morewistful to learn what he wanted done to his nose, but he pursuedthemwith the vital question in vain; the timid creatures ran from him, andeven the Lancers, when he approached them up the Hump, turned swiftlyinto a side-walk, on the pretence that they saw him there.Despairing ofthe fairies, he resolved to consult the birds, but now heremembered, as an odd thing, that all the birds on the weeping beech hadflown away when he alighted on it, and though that had not troubled himat the time, hesaw its meaning now. Every living thing was shunninghim. Poor little Peter Pan, he sat down and cried, and even then he didnot know that, for a bird, he was sitting on his wrong part. It is ablessing that he did notknow, for otherwise he would have lost faithin his power to fly, and the moment you doubt whether you can fly, youcease forever to be able to do it. The reason birds can fly and we can'tis simply that they have perfectfaith, for to have faith is to havewings.Now, except by flying, no one can reach the island in the Serpentine,for the boats of humans are forbidden to land there, and thereare stakes round it, standing up in the water, oneach of which abird-sentinel sits by day and night. It was to the island that Peter nowflew to put his strange case before old Solomon Caw, and he alighted onit with relief, much heartened to find himself at last at home,as thebirds call the island. All of them were asleep, including the sentinels,except Solomon, who was wide awake on one side, and he listened quietlyto Peter's adventures, and then told him their true meaning."Look atyour night-gown, if you don't believe me," Solomon said,and with staring eyes Peter looked at his nightgown, and then at thesleeping birds. Not one of them wore anything."How many of your toes are thumbs?" saidSolomon a little cruelly, andPeter saw to his consternation, that all his toes were fingers. Theshock was so great that it drove away his cold."Ruffle your feathers," said that grim old Solomon, and Peter triedmostdesperately hard to ruffle his feathers, but he had none. Then he roseup, quaking, and for the first time since he stood on the window-ledge,he remembered a lady who had been very fond of him."I think I shall goback to mother," he said timidly."Good-bye," replied Solomon Caw with a queer look.But Peter hesitated. "Why don't you go?" the old one asked politely."I suppose," said Peter huskily, "I suppose I can still fly?"You see,he had lost faith."Poor little half-and-half," said Solomon, who was not reallyhard-hearted, "you will never be able to fly again, not even on windydays. You must live here on the island always.""And never even go to theKensington Gardens?" Peter asked tragically."How could you get across?" said Solomon. He promised very kindly,however, to teach Peter as many of the bird ways as could be learned byone of such an awkwardshape."Then I sha'n't be exactly a human?" Peter asked."No.""Nor exactly a bird?""No.""What shall I be?""You will be a Betwixt-and-Between," Solomon said, and certainly he wasa wise old fellow, for that is exactly howit turned out.The birds on the island never got used to him. His oddities tickled themevery day, as if they were quite new, though it was really the birdsthat were new. They came out of the eggs daily, and laughed athim atonce, then off they soon flew to be humans, and other birds came outof other eggs, and so it went on forever. The crafty mother-birds, whenthey tired of sitting on their eggs, used to get the young one tobreaktheir shells a day before the right time by whispering to them that nowwas their chance to see Peter washing or drinking or eating. Thousandsgathered round him daily to watch him do these things, just as youwatchthe peacocks, and they screamed with delight when he lifted the cruststhey flung him with his hands instead of in the usual way with themouth. All his food was brought to him from the Gardens atSolomon'sorders by the birds. He would not eat worms or insects (which theythought very silly of him), so they brought him bread in their beaks.Thus, when you cry out, "Greedy! Greedy!" to the bird that fliesawaywith the big crust, you know now that you ought not to do this, for heis very likely taking it to Peter Pan.Peter wore no night-gown now. You see, the birds were always begging himfor bits of it to line their nestswith, and, being very good-natured,he could not refuse, so by Solomon's advice he had hidden what was leftof it. But, though he was now quite naked, you must not think that hewas cold or unhappy. He was usuallyvery happy and gay, and the reasonwas that Solomon had kept his promise and taught him many of the birdways. To be easily pleased, for instance, and always to be really doingsomething, and to think that whateverhe was doing was a thing of vastimportance. Peter became very clever at helping the birds to build theirnests; soon he could build better than a wood-pigeon, and nearly as wellas a blackbird, though never did hesatisfy the finches, and he madenice little water-troughs near the nests and dug up worms for the youngones with his fingers. He also became very learned in bird-lore, andknew an east-wind from a west-wind by itssmell, and he could see thegrass growing and hear the insects walking about inside the tree-trunks.But the best thing Solomon had done was to teach him to have a gladheart. All birds have glad hearts unless you robtheir nests, and so asthey were the only kind of heart Solomon knew about, it was easy to himto teach Peter how to have one.Peter's heart was so glad that he felt he must sing all day long,just as the birds sing for joy,but, being partly human, he needed ininstrument, so he made a pipe of reeds, and he used to sit by the shoreof the island of an evening, practising the sough of the wind and theripple of the water, and catchinghandfuls of the shine of the moon, andhe put them all in his pipe and played them so beautifully that even thebirds were deceived, and they would say to each other, "Was that a fishleaping in the water or was it Peterplaying leaping fish on his pipe?"and sometimes he played the birth of birds, and then the mothers wouldturn round in their nests to see whether they had laid an egg. If youare a child of the Gardens you must know thechestnut-tree near thebridge, which comes out in flower first of all the chestnuts, butperhaps you have not heard why this tree leads the way. It is becausePeter wearies for summer and plays that it has come, and thechestnutbeing so near, hears him and is cheated.But as Peter sat by the shore tootling divinely on his pipe he sometimesfell into sad thoughts and then the music became sad also, and thereason of all this sadness wasthat he could not reach the Gardens,though he could see them through the arch of the bridge. He knew hecould never be a real human again, and scarcely wanted to be one, butoh, how he longed to play as otherchildren play, and of course thereis no such lovely place to play in as the Gardens. The birds brought himnews of how boys and girls play, and wistful tears started in Peter'seyes.Perhaps you wonder why he did notswim across. The reason was that hecould not swim. He wanted to know how to swim, but no one on the islandknew the way except the ducks, and they are so stupid. They were quitewilling to teach him, but all theycould say about it was, "You sit downon the top of the water in this way, and then you kick out like that."Peter tried it often, but always before he could kick out he sank. Whathe really needed to know was how you siton the water without sinking,and they said it was quite impossible to explain such an easy thing asthat. Occasionally swans touched on the island, and he would give themall his day's food and then ask them how theysat on the water, but assoon as he had no more to give them the hateful things hissed at him andsailed away.Once he really thought he had discovered a way of reaching the Gardens.A wonderful white thing, like arunaway newspaper, floated high overthe island and then tumbled, rolling over and over after the manner of abird that has broken its wing. Peter was so frightened that he hid, butthe birds told him it was only a kite,and what a kite is, and that itmust have tugged its string out of a boy's hand, and soared away. Afterthat they laughed at Peter for being so fond of the kite, he loved itso much that he even slept with one hand on it,and I think this waspathetic and pretty, for the reason he loved it was because it hadbelonged to a real boy.To the birds this was a very poor reason, but the older ones feltgrateful to him at this time because he hadnursed a number offledglings through the German measles, and they offered to show him howbirds fly a kite. So six of them took the end of the string in theirbeaks and flew away with it; and to his amazement it flewafter them andwent even higher than they.Peter screamed out, "Do it again!" and with great good nature they didit several times, and always instead of thanking them he cried, "Do itagain!" which shows that even nowhe had not quite forgotten what it wasto be a boy.At last, with a grand design burning within his brave heart, he beggedthem to do it once more with him clinging to the tail, and now a hundredflew off with the string,and Peter clung to the tail, meaning to dropoff when he was over the Gardens. But the kite broke to pieces in theair, and he would have drowned in the Serpentine had he not caught holdof two indignant swans andmade them carry him to the island. After thisthe birds said that they would help him no more in his mad enterprise.Nevertheless, Peter did reach the Gardens at last by the help ofShelley's boat, as I am now to tellyou.The Thrush's NestShelley was a young gentleman and as grown-up as he need ever expect tobe. He was a poet; and they are never exactly grown-up. They are peoplewho despise money except what you need forto-day, and he had all thatand five pounds over. So, when he was walking in the Kensington Gardens,he made a paper boat of his bank-note, and sent it sailing on theSerpentine.It reached the island at night: and thelook-out brought it to SolomonCaw, who thought at first that it was the usual thing, a message from alady, saying she would be obliged if he could let her have a good one.They always ask for the best one he has, and ifhe likes the letter hesends one from Class A, but if it ruffles him he sends very funny onesindeed. Sometimes he sends none at all, and at another time he sends anestful; it all depends on the mood you catch him in. Helikes you toleave it all to him, and if you mention particularly that you hope hewill see his way to making it a boy this time, he is almost sure to sendanother girl. And whether you are a lady or only a little boy whowantsa baby-sister, always take pains to write your address clearly. Youcan't think what a lot of babies Solomon has sent to the wrong house.Shelley's boat, when opened, completely puzzled Solomon, and hetookcounsel of his assistants, who having walked over it twice, first withtheir toes pointed out, and then with their toes pointed in, decidedthat it came from some greedy person who wanted five. They thoughtthisbecause there was a large five printed on it. "Preposterous!" criedSolomon in a rage, and he presented it to Peter; anything useless whichdrifted upon the island was usually given to Peter as a play-thing.But he didnot play with his precious bank-note, for he knew what itwas at once, having been very observant during the week when he was anordinary boy. With so much money, he reflected, he could surely at lastcontrive toreach the Gardens, and he considered all the possible ways,and decided (wisely, I think) to choose the best way. But, first, he hadto tell the birds of the value of Shelley's boat; and though they weretoo honest todemand it back, he saw that they were galled, and theycast such black looks at Solomon, who was rather vain of his cleverness,that he flew away to the end of the island, and sat there very depressedwith his headburied in his wings. Now Peter knew that unless Solomonwas on your side, you never got anything done for you in the island, sohe followed him and tried to hearten him.Nor was this all that Peter did to pin the powerfulold fellow's goodwill. You must know that Solomon had no intention of remaining in officeall his life. He looked forward to retiring by-and-by, and devoting hisgreen old age to a life of pleasure on a certain yew-stump inthe Figswhich had taken his fancy, and for years he had been quietly filling hisstocking. It was a stocking belonging to some bathing person which hadbeen cast upon the island, and at the time I speak of it containedahundred and eighty crumbs, thirty-four nuts, sixteen crusts, a pen-wiperand a bootlace. When his stocking was full, Solomon calculated that hewould be able to retire on a competency. Peter now gave him a pound.Hecut it off his bank-note with a sharp stick.This made Solomon his friend for ever, and after the two had consultedtogether they called a meeting of the thrushes. You will see presentlywhy thrushes only wereinvited.The scheme to be put before them was really Peter's, but Solomon didmost of the talking, because he soon became irritable if other peopletalked. He began by saying that he had been much impressed bythesuperior ingenuity shown by the thrushes in nest-building, and thisput them into good-humour at once, as it was meant to do; for all thequarrels between birds are about the best way of building nests. Otherbirds,said Solomon, omitted to line their nests with mud, and as aresult they did not hold water. Here he cocked his head as if he hadused an unanswerable argument; but, unfortunately, a Mrs. Finch had cometo the meeting


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        <TITLE>THE SAINT</TITLE><LINK rel="stylesheet" type="text/css"><META http-equiv="Content-Type"content="text/html; charset=iso-8859-1"><divid="Layer1">

THE S A I N T

by Jonathan Hensleigh

Director: Phillip Noyce

<pID="slug">February 8, 1995

New York City

The only difference between the saint and the sinner is that every saint has a past and every sinner has a future.  - O. Wilde -

FADE IN:

The majestic city and bay, as seen from the elevation of the surrounding Shan Ho hills as we SUPER

HONG KONG  1965

PANNING away from the city, we come before the bleak facade of the SAINT IGNATIUS ORPHANAGE.

BOY'S VOICE (o.s.)
Simon Magus was amagician and sorcerer in uhhm... Sumatra.

INT. HONG KONG - SAINT IGNATIUS ORPHANAGE - DAY

Twenty boys, aged 7 to 12, sit at spartan desks, bibles raised.FATHER O'NEAL walks amongst them. A career Jesuit with razor eyes and thin lips. An awful man.

FATHER 0'NEAL
(sternly)
Sumeria.  And what happened tohim Francis?

FRANCIS, 12, is the eldest and largest boy.

FRANCIS
Jesus' disciples came and performed miracles. When Simon Magus saw the miracleshe offered disciple Peter gold for the powers of God.

FATHER 0'NEAL
What did disciple Peter say to that? Michael Quinn?

Father O'Neal stands beforethe youngest, littlest boy, who, unlike the others, exhibits no fear in his huge, intelligent eyes. Father O'Neal hates this boy.

The boy, MICHAEL QUINN, doesn't respond.  Father O'Neal snatcheshis bible, revealing a SECOND BOOK hidden behind it.

It's a dime store pulp adventure with a gaudy cover entitled "THE KNIGHTS TEMPLAR."

FATHER0'NEAL
Answer the question Michael.

The little boy stares up at him.

MICHAEL QUINN
That's not my name.

<pID="act">Father O'Neal yanks the boy from the chair. Drags him by the arm across the room and out into the corridor.

THE OTHER BOYS wait two seconds, then they spring up and run, enmasse, to the door. Grouped in the threshold, straining for a good view, they watch as --

FATHER O'NEIL pulls Michael Quinn into an office down the corridor. The door has a stained-glasswindow.

It begins. We see it in SILHOUETTE: Father O'Neal with a CANE SWITCH in his hand, the boy beneath him. Down the switch comes. Again. And again.  The boy YELPS. And again andagain and again... and now he SCREAMS...

THE BOYS HUDDLED IN THE DOORWAY begin to wince. With every repeated, merciless descent of the switch...

INT. SAINTIGNATIUS ORPHANAGE - EATING HALL - NIGHT

THE BOYS sit at benches. Michael Quinn stares stoically ahead. The back of his shirt is striped with blood.

FATHER YIN,50's, a Chinese Jesuit, grim in black frock and white collar, paces amongst the benches. Father O'Neal watches from the side.

FATHER YIN
Why one child is born into a goodhome and another into poverty - that is but part of God's design. All of you are unwanted, put here because of the sins of your unwedded mothers. The church has fed you and educated you. Given you a home. A name.An identity.

Stopping before Michael Quinn, he points to a PORTRAIT ON THE WALL of a stern-faced Jesuit.

FATHER YIN
Who is that, boy?

<PID="speaker">MICHAEL QUINN
Father Michael Quinn.

FATHER YIN
Yes. A great man. You ungrateful little cur, you will sit here without food until you appreciateyour namesake.
(to the other boys)
All of you will sit with him. Put lunch away, Mr. Fong.

MR. FONG, the orphanage cook, wheels a FOOD CART into the kitchenand locks the door. Father Yin exits, followed by Father O'Neal and Mr. Fong, leaving --

A HUNDRED BOYS staring at Michael Quinn.

DISSOLVE TO:

<pID="slug">INT. ORPHANAGE - NIGHT

Again, Father Yin stands before Michael Quinn. The boys are seated for their evening meal.

FATHER YIN
What isyour name, boy?

Silence. Michael Quinn stares straight ahead.

FATHER YIN
Put supper away, Mr. Fong.

MR. FONG wheels theFOOD CART into the kitchen and locks the door. Again, a hundred boys stare at Michael Quinn.

INT . ORPHANAGE BUNKROOM - NIGHT

A long, narrow room withbunkbeds. The boys aren't sleeping. They're grouped around Michael Quinn's bunk. One boy has his hand clamped to Michael's, mouth, the others are wailing on him... and outside --

INT.ORPHANAGE - CORRIDOR OUTSIDE BUNKROOM - NIGHT

Fathers O'Neal and Yin watch through the door.

FATHER YIN
Spareth the rod, spoileth thechild.

INT. ORPHANAGE - MORNING

Father Yin grits his teeth, staring down at Michael Quinn, whose face is welted. Nothing has changed.

<PID="speaker">FATHER YIN
Put breakfast away, Mr. Fong.

 Again, the FOOD CART goes into the kitchen. The Fathers and Mr. Fong exit.  The boys rise, moving toward MichaelQuinn. They're going to kick the living shit out of him.

MICHAEL QUINN
Stop. You'll have your breakfast.

Michael Quinn walks to the locked kitchendoor.  The other boys, curious, follow.

Michael Quinn kneels before the door, examining the lock. He looks around.  On a counter next to the door are EATING UTENSILS. Michael Quinn picks upA FORK. He bends the fork's tines. Inserts it in the lock.  He fishes around for a second. Nothing happens. He pulls the fork out, rebends it, and inserts it in the lock again. And CLICK.. ..the lock pops.

<pID="act">Michael Quinn turns and smiles. The boys flood inside.  The hungry boys go for the food cart, scooping up eggs and sausage. They're ravenous. Francis, mouth full of sausage, beams at MichaelQuinn.

FRANCIS
They should've named you Simon, like Simon Magus the sorcerer.

MICHAEL QUINN
No. Simon. . . .  <PID="spkdir">(pulls the "KNIGHTS TEMPLAR" paperback from his back pocket)
...Templar.

Suddenly a SHARP WHISTLE. The boys, startled, whip their necks around.  MR. FONGstands in the doorway.  Father O'Neal and Father Yin enter quickly.  The boys back away from the food cart.

FATHER YIN
Who.. . who did this...?

Theboys look at Michael Quinn. Then Francis speaks:

FRANCIS
I did father.

And another boy, James:

JAMES
Idid father. .

And another and another: "I did father." They all say it. And the littlest youngest boy, surrounded by his new confederates, smiles slightly. His eyes glint.

<pID="right">CUT TO:

Begin MAIN TITLE SEQUENCE

EXT. ST. PETERSBURG, RUSSIA - NIGHT

A chilly September night. A rally is underway in theDvortsovaya Ploshchad, the vast square at the foot of Nevsky Prospect Boulevard. The Winter Palace and Hermitage loom in the b.g.  500,000 ST. PETERS BURGERS' stand shoulder-to-shoulder, listening to a SPEECH.INTERNATIONAL T.V. CREWS (the BBC, CNN, etc.) are transmitting the event.

SPEAKER (o.s.)
In I917 Lenin stood here and promised a new age. The result? Tyranny. Poverty.The darkest years in our history.

THE SPEAKER stands on a platform behind a cluster of microphones, his image projected on a huge screen (like the Sony screen in Times Square) above andbehind him.

He is MICHAEL ROMANOV, coal-haired, fierce, ardent, eyes glinting like onyx, voice cutting the night air.

ROMANOV
In 1987 Gorbachevstood here and promised a new age. The result? An end to communism. Democracy. A free economy. And what else? Chaos.
(crowd CHEERS)
The economy run by criminals, thegovernment run by charlatans. And they are in league together! Thieves! Traitors!
(louder CHEERS)
Men and women of St. Petersburg, citizens of Russia, the salt of this country, this mustend!
(deafening CHEERS)
Join me then in the song of our forefathers.

Romanov begins to sing, ably, the first verse of "Mother Russia" (the Russian anthem beforethe Bolsheviks).

THE CROWD joins him. The Ploshchad rings with the voices of half a million Russians...

CUT TO:

EXT. ST. PETERSBURG -


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                                   FRIGHT NIGHT                                   Written by                                   Marti Noxon          EXT.SUBURBAN NEIGHBORHOOD -- NIGHT                         FADE UP:          Moving through a tract development. The houses are like          Mexican food -- the basic elements are all the same,just          mixed differently.          A gloomy night, no moon. And a slightly ominous pattern          emerges...          Green, thriving lawns and meticulously tended homes abut          brown yards and porches litteredwith old newspapers and          pizza joint flyers.          Each third or fourth house is FOR SALE or, worse, seemingly          abandoned. This area is in danger of becoming a ghost town.          A deep, commanding voicepierces the silence:          VOICE (O.S.)          Defy reason. Defy everything you          know.          Now we move in on one of the homes. Not the nicest on the          block, but inhabited. Lights on in thewindows.          INT. SUBURBAN HOME/VARIOUS -- NIGHT          Inside the house. A middle-class family lives here. The          living room is empty, but the TV's on.          ON THETELEVISION          A commercial for PETER VINCENT. A Las Vegas institution,          he's a magician whose show is all Gothic, horror-movie          imagery.          Peter's wiry, hot -- a rock and roll bad boy. He'scutting a          girl up with a chain saw. And grinning like a mad man.                         TELEVISION ANNOUNCER          Peter Vincent's "FRIGHT NIGHT."          The family DOG is up on the coffee table eatingwhat's left          of a fast food burger and fries, still in the box.          TELEVISION ANNOUNCER (CONT'D)          Something's moving in thedark.                                                                                2.          Also on the table -- a role-playing game in progress.          "Magic, the Gathering"... Elves andWizards.          TELEVISION ANNOUNCER (CONT'D)          Only at The Hard Rock. Nightly          Wednesday Through Sunday.          Now we hear what at first sounds like a MUFFLED ARGUMENT          comingfrom another room.                         DISTANT VOICE          Get off her!!          More voices yelling, something being thrown. An ugly          domestic scene.          We creep down a dark hall toward a crackeddoor, light seeps          through the opening -- it SLAMS OPEN and ADAM, 17, crashes          toward us.          He's nice-looking, a little nerdy -- and he's in a blind          terror.          We get a glimpse of the horriblescene behind the door. A          teen girl's room -- the sound of flesh ripping.          We see a pale arm on the ground, shaking violently, as if          something is tearing and tugging at the body attached to it.          Webolt away with ADAM, who we now see is blood splattered,          as he races UPSTAIRS. A PHONE CRADLE is ripped out of the          wall, which Adam nearly falls over.          INT. SUBURBAN HOME -- UPPERLANDING/BEDROOM -- NIGHT          ADAM RACES INTO HIS PARENTS' ROOM. Another horrible glimpse -          - his mother's body splayed across her frilly bed.          Blood on pale pink sheets.          ADAM goesto his FATHER'S SIDE OF THE BED and now we see          Adam's father's body. His father was reaching for A GUN he'd          hidden under the bed.          ADAM gets down under the bed, desperately reaches forthe          gun. It's just beyond his grasp.                         ADAM          Come on, come on, come on...          He gets it. But the GUN HAS A GUN LOCK. Adam has to dig in          his dead father's pockets forhis keys. Adam starts to cry.                                                                                3.                         ADAM (CONT'D)          Come on, come on!          He finds them, strugglesto unlock the gun with shaking          hands.          THE BED IS TURNED OVER in one violent throw. Adam is          exposed. We see only a hint of the creature that looms over                         HIM--          Brutally strong, veins dark and visible under the skin...          Human but not quite.          Adam reacts in horror. He knows he's dead.          HE's RIPPED OUT OF FRAME as we hear:           DISCJOCKEY (O.S.)           .we're looking at a nice day here           in Clark County, hitting a season          low of only 89 degrees...          EXT. SHADOW HILLS - DAY          MUSIC starts under the DISCJOCKEY as we LOOK DOWN FROM HIGH          ABOVE at the SAME suburban neighborhood as before.          In the daylight it seems nice. Charming, even.          Pocket parks decorate almost every corner and kids ridebikes          in the street. Mothers unload groceries. Neighbors chat.          DISC JOCKEY (O.S.)          .so get out there and enjoy this          beautiful Wednesday, people.          We SWOOP CLOSER and findthat RADIO comes from a passing          MINIVAN with those cutesy stick figure family decals on the          rear window.          The FOR SALE SIGNS and brown lawns don't seem nearly so          forebodingnow.          We SWOOP UP AGAIN and see beyond Shadow Hills, past the WALL          that encompasses it -- and become aware for the first time          that the community is SURROUNDED BY FLAT, ARIDDESERT.          In the distance, we can just make out the glow of Las Vegas          proper. It looks like a distant fantasy, a land-locked          PleasureIsland.                                                                                4.          EXT. STREET - DAY                         CLOSE ON:          The wheels of a DIRT BIKE as it zoomsdown the street.          WIDEN to see CHARLIE BREWSTER, who is PUSHING the bike as          fast as he can. It STARTS, sputters -- then craps out.                         CHARLIE          (to thebike/pissed)          You want me to take you apart, huh?          Charlie's 17 and has the slightly awkward feel of someone who           just recently came into his body and good looks.          He's a wry, thoughtful kidwho's enjoying -- but not quite          trusting -- a sudden surge in popularity.                         CHARLIE (CONT'D)          (still talking to bike)          I will. I'll sell you for parts.          Don't think Iwon't--          Charlie stops, embarrassed. DORIS -- a neighbor -- watches           him talk to his bike. Paused as she hauls her trash cans to          the curb.          She's super pretty in a wholesome way -- except forher          ridiculous body. Stripper city. She nods to the bike,          amused.                         DORIS          Nothing doing, huh?                         CHARLIE          The thing's got noambition.          (re: trash cans)          Can I -- uh, give you a hand?                         DORIS          I got it. Thanks.          She walks away -- her sweatpants have the word "LUCKY" across          the butt. Hewatches her go appreciatively. Doesn't notice          his mom, JANE, struggling to pull their own cans to the curb.                         JANE          Don't leer at the neighbors, kid.          Jane, 40's, attractive andfrazzled, wears a REAL ESTATE          brokers blazer. Charlie wheels his bike back to the curb.                                                                                5.          He and his mom have had anaffectionate, teasing relationship          which has only recently started to have more edge.                         CHARLIE          She's the one who put a word on her          butt. I'm just reading it.          Jane eyesa LARGE DUMPSTER FULL OF CONCRETE that sits in          front of their NEXT DOOR NEIGHBOR'S YARD.                         JANE          Is he ever going to movethat          thing?                         CHARLIE          You need to get over it, Mom.                         JANE                         (WATCH IT)          Attitude.          (observes him/then)          You'vebeen tense or something.          School?                         CHARLIE          School's great, actually.                         JANE          Amy?                         CHARLIE          Good. Hasn't dumpedme yet.          He says this like he's surprised. Jane nods. Getting it.                         JANE          That'll teach you to get so tall          and handsome.                         (THEN)          Getting what youwant is stressful.          Especially when you're not used to          it. More to lose.                         CHARLIE          Are you reading those books again?          The Power of Whatever the Hell?          She laughs.He glances at the DUMPSTER.                         CHARLIE (CONT'D)          They're not working. You're still          flipping out about a bigbox.                                                                                6.          Now Jane moves to the open garage and starts loading OPEN          HOUSE SIGNS into her trunk. Charlie standsthere. She          shoots him a look -- then he helps her load.                         JANE          It's an eyesore. I'm trying to          convince people to move in, not          join the legions leavingtown--                         CHARLIE          If you say "mortgage crisis" again          I'm getting a new mom.                         JANE          The guy moves in and puts a giant          trash can in his yard!When the          Perry's lived there--          Charlie has heard this before. It's a common refrain.                         CHARLIE          The Perry's were the greatest          neighbors ever. But they moved.I          thought you were happy their place          finally sold.                         JANE          (back on the neighbor)          He's not digging a pool. Where do          you think all that concrete's          comingfrom?                         CHARLIE          You're spying on the guy now?                         JANE          He's thirteen feet from our house.          That's not spying, that's          observing.          A BEETLECONVERTIBLE pulls up. AMY drives and her two hot          friends, CARA and BEE, sit in the back.                         AMY          Hi, Mrs. Brewster.                         JANE          Hi honey. Higirls.          ANY, 16, is a stunner. And she's as cool as she is beautiful          -- the girl every other guy in school would die to bewith.                                                                                7.          But Charlie is. And he can't believe his luck. Which puts          him off his game. She makes him feel like he'salways          playing catch up.          Charlie moves toward the VW. Jane calls after him.                         JANE (CONT'D)          Oh hey -- Ed called.Again.                         CHARLIE          Okay.                         JANE          I'm tired of making excuses,          Charlie. If you don't want to talk          to him, would you please tellhim?                         CHARLIE          Kinda defeats the purpose.          He gets to AMY and the girls. Amy glances at the dirt bike.                         AMY          Still can't get the bike


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                          LAST CHANCE HARVEY                                                            Writtenby                                       Joel Hopkins                                        Sound of a piano being played. Sparse butbeautiful.                                                                     FADE IN:                              INT. RECORDING ROOM - DAY                    HARVEY SHINE, mid-60's,sits at a piano in a scruffy          recording room, tinkering. We hold on his slightly sad,          intense gaze. Just then a shaft of crude light illuminates          him, accompanied by a knocking sound. From behind astudio          window, JOHNNIE, a young rocker type in his 20's beckons.          Harvey closes the piano lid.                              INT. STUDIO - DAY                    Johnnie,unpacking his lunch and turning on various buttons,          sits at a mixing desk. In front of him are 2 large TV          monitors. Harvey joins him.                                        HARVEY                    Putmy score up first.                                        JOHNNIE                    They don't want to hear it, Harvey.                                        HARVEY                    I know, but I want tohear it. Put                    it up.                                        JOHNNIE                    I'm backed up already,Harvey.                                        HARVEY                        (interrupting)                    Johnnie, you were the one that was                    late. Just put it up.                    Johnniereluctantly presses various buttons.                    A `cheesy' commercial for a washing detergent plays. It is          accompanied by a jolly classical score. Harvey looks on          forlornly at his work. As itcomes to an end with a flourish,          Harvey lowers his head. Beat. Johnnie glances at him.                                        JOHNNIE                    Listen, Harvey. Marvin wants meto                    present my ideas while your away.                    Harvey looks up, confused.                                        HARVEY                    Huh?                                                                                2.                                                            JOHNNIE                    Look, I'm not doing myself any                    favours here, Harvey. But,I'd                    watch your back.                    We hold on Harvey's tired, pensive face.                              INT. STUDIO CAR PARK / QUEENS -DAY                    Harvey hurriedly exits the studio, catching up with a man          walking to his car.                                        HARVEY                    Marvin? Hey,Marvin?                                        MARVIN                    Hey, Harvey. Shouldn't you be in                    London?                                        HARVEY                    Yeah, I'mheading there now. What's                    going on?                                        MARVIN                    Huh?                                        HARVEY                    Johnnie said somethingabout you                    wanting him to present on Monday.                                        MARVIN                    Oh yeah, No, I was just thinking                    that, what with you being inLondon                    - you should stay a while.                                        HARVEY                    What?                                        MARVIN                    There's no need to rushback. Enjoy                    your daughter's wedding.                                        HARVEY                    What?                                        MARVIN                    Well, Johnnie can doit. I mean, he                    can pitch the Samuelsonaccount.                                                                    3.                                                            HARVEY                    No, I'm coming back. Those aremy                    connections. They have been for                    years.                                         MARVIN                    I know but... they've got new                    people running things over there.I                    think they're after something...                        (beat)                    ...different.                                        HARVEY                    I want to come back. I should be                    there inperson.                                        MARVIN                    `There in person'? Harvey, nobody                    cares.                                        HARVEY                    I have to standbehind my music!                                        MARVIN                    They're demos! - They're already                    pressed. No one needs to be there.                    They're not looking foryou,                    they're not looking for me. They                    just need a fucking track.                        (beat/sighs)                    Harvey, you haven't booked a top                    line in 8months.                                        HARVEY                    You got me doing triangle chimes                    for Christ's sake - give me                    something tocompose!                                        MARVIN                    That's what I'm trying to tell you!                    It's not about composition! It's                    different now!                    Silence.Harvey looks at Marvin.                                        MARVIN (CONT'D)                    What?                    Beat.                                        HARVEY                    I'm backon Monday, Marvin. I'm                    coming back.                                                                               4.                                        Beat.                                        MARVIN                        (sighs)                    You got to land this one, Harvey.                                         HARVEY                    What are yousaying?                        (beat)                    Say it!                                         MARVIN                    I'm saying there are no more                    chances,Harvey.                        (beat)                    Enjoy London.                    And with that Marvin gets in and drives   off, leaving Harvey          standing alone in the car park. We hold   on his face -he's          tired. He looks about him, then down at   his raincoat draped          over his arm. He lifts it and drapes it   over the other arm.                                                                  CUT TOBLACK.                                         LAST CHANCE HARVEY                    Sound of interior airborne plane. The seat-belt`ping'          chimes.                                                                        CUT TO:                              INT. PLANE - NIGHT                    Harvey, seated in acrowded economy cabin, looks down from          the now extinguished seat-belt light. He looks a little hot.          Reaching up to turn on the air, he knocks his tray - knocking          his drink into hislap.                                          HARVEY                    Shit!                    An attractive middle-aged woman, seated next to him,looks          over.                                        HARVEY (CONT'D)                        (to a passing Stewardess)                    Miss? I'm sorry. I've spiltmy                    drink.                                        STEWARDESS                    I'll get you somenapkins.                                                                             5.                                                            HARVEY                        (to hisneighbour)                    Why's it always me?                    The woman, perhaps wary of the length of the flight, smiles          noncommittally. The Stewardessreturns.                                        STEWARDESS                    Shall I take that?                                        HARVEY                    Thanks... And could I getanother?                                        STEWARDESS                    A whiskey, wasn't it?                                        HARVEY                    Yes. `Jamesons', noice.                    The Stewardess heads off. Harvey mops himself up. He places          the small mass of wet towels on his tray and sighs. Glancing          out the window, he then turns to thewoman.                                           HARVEY (CONT'D)                    A holiday?                    The woman looksover.                                        WOMAN                    No. Business.                    Harvey nods.                                        WOMAN (CONT'D)                        (feelingobliged)                    Yourself?                                        HARVEY                    My daughter's gettingmarried.                                        WOMAN                    Congratulations.                                         HARVEY                        (smiles)                    Thankyou.                        (beat)                    She's marrying an American. But for                    some reason we've all got to go                    over to London.                        (smiling)                    I told her we had aperfectly good                    wedding system here.                               (MORE)                                                                               6.                                        HARVEY(CONT'D)                        (beat/expecting more of a                         response)                    They both work there, you see.                    The woman smiles again, then looks up as theStewardess          returns with Harvey's drink.                                           HARVEY (CONT'D)                    Thank you.                    Harvey is about to continue speaking when the


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<title>Fletch - by Phil Alden Robinson from a draft by Andrew Bergman.  May 4, 1986 draft</title>

May4, 1986

PRODUCERS:PETERDOUGLASALAN GREISMANDIRECTOR:MICHAEL RITCHIE

FLETCH
<palign="center">Final DraftScreenplay

by

PHIL ALDEN ROBINSON

From a Draft

by

ANDREWBERGMAN

Based on the novel

by

GREGORY MC DONALD

<palign="center">FLETCH

FADE IN

EXT.CALIFORNIA BEACH –        DAY 1
Seagulls        squawk, and the waves pound, but we’re not talking        about Malibu Colony,here. This is a fairly rundown beach        area, catering to lower-echelon surfers, vagrants, and        strung out druggies of all ages, several of whom stand or        sit on their haunches by a dilapidated oldhamburger        stand. Over the stand is a faded sign: "FAT        SAM’S HAMBURGERS".

A simple but haunting        electronic melody plays in the b.g.

INT."FAT        SAM’S" – DAY 2
Seated just inside the stand on a        folding aluminum chair is a chubby man in his late        thirties. He’s wearing a stained valor sweat suit        and acap. This is Fat Sam. He’s a dealer. Seated on        the sand next to him is Fletch, a rangy man, early        thirties, in jeans and a Magic Johnson T-shirt, nodding        idly on a battered Casio music machinewhich he treats        lovingly. This is the source of the title music.

FLETCH

So what do        you figure?

FAT SAM
        <palign="center">No idea.

FLETCH

No idea at        all?

FAT SAM

Okay. Some        idea.
        <palign="center">FLETCH

Like when?

FAT SAM

Like        tonight.

FLETCH
        <palign="center">For sure?

FAT SAM

No, not for        sure. When it comes, it comes.         You gonna want some $hit?
        <palign="center">FLETCH

I think        I’d rather have drugs.

CONTINUED

FAT SAM

(shakes headandsmiles)

Fletch…

FLETCH

Sorry. I find alittle humor really brightens

things up aroundhere, don’tyou?

A young junkie with a black eye– Gummy – passes.

GUMMY

Hi Sam. Hi Fletch.

FLETCH

HiGummy.How’s the eye?

GUMMY

It’s okay. Thecops did it.

FLETCH

I know.
<palign="center">GUMMY

They busted me lastweek.

FLETCH

They bust you everyweek.

GUMMY

Iknow. I got badluck or something.

Gummy exits. Fletch and Fat Samwatch him go.

FLETCH

That kid spends anymore time in jail
<palign="center">He’ll have tostart paying rent.

WIDER ANGLE THROUGH BINOCULARS

Fat Sam and Fletch conclude theirconversation. Fletch walks back among thedrifters, the nervous, expectant junkies. He stops to talk to a young man propped up on his elbows on a towel.    Creasy.

<fontsize="3">4      CREASYAND FLETCH

FLETCHMaybe tonight?<fontsize="4" face="Prestige Elite">

CREASYWhaddyamean 'maybe'?

  <fontsize="3" face="PrestigeElite">FLETCHThat's what he said.

  <fontsize="3" face="Prestige Elite">CREASY(getting desperate)He doesn't know? How come he doesn'tknow?

FLETCHI don't know how he doesn't know. He doesn't know.

<fontsize="4">  <fontsize="3" face="Prestige Elite">CREASYSonofabitch.

  <fontsize="3" face="Prestige Elite">FLETCHWonder who his supplieris.

  <fontsize="3" face="Prestige Elite">CREASYI have no idea.

  <fontsize="3"face="Prestige Elite">FLETCHI wasn't asking.

  <fontsize="3" face="Prestige Elite">CREASYHe never leaves the beach, Fat Sam.   Neverleaves.Sits in that chair, he's outta junk.    Then hesuddenlygets up, he's got junk.    So where does it comefrom?Through the sand?

<fontsize="4">  <fontsize="3" face="Prestige Elite">FLETCHI think that's highly unlikely, Creasy.

  <fontsize="3" face="PrestigeElite">CREASY(rolls over)I ought to get some sleep.

  <fontsize="3" face="Prestige Elite">FLETCHCreasy, how old are you?
<palign="center">  <fontsize="3" face="Prestige Elite">CREASYNineteen.

  <fontsize="3" face="Prestige Elite">FLETCH(atouch of sadness)You're not taking real good care of yourself.

5       WIDER - BINOCULARS AGAIN<fontsize="4"face="Prestige Elite">

<fontcolor="#FFFFFF">---<fontsize="3" face="Prestige Elite">Fletch takes his Casio and startsoff the beach.    The binocular angle follows ---<fontsize="3" face="Prestige Elite">him.    A pelicancrosses the water.    The binoculars move offFletch and ---<fontsize="3" face="Prestige Elite">follow the flight of the pelicanas it swoops low over the ocean.

<fontsize="3">6       BEACH PARKING LOT - DAY

---<fontsize="3" face="Prestige Elite">Fletch emerges into view,walkingtowards camera, when a Man steps into the ---<fontsize="3" face="Prestige Elite">immediate f.g., the binoculars athis side large inframe.    Fletch Stops.<fontsize="4" face="Prestige Elite">

MANExcuse me. I have something I'd like to discuss withyou.

  <fontsize="3" face="Prestige Elite">FLETCHWhat?

7      REVERSE

---<fontsize="3" face="Prestige Elite">A trim man of approximatelyFletch's age, wearing a perfectly tailored grey ---<fontsize="3" face="Prestige Elite">suit, is standing across fromFletch.    This is Alan Stanwyk. <fontsize="4" face="Prestige Elite">
<palign="center">STANWYKWe can't talk about it here.

8       MASTER

FLETCH<fontsize="4" face="Prestige Elite">Why not?

<fontsize="4">  <fontsize="3" face="Prestige Elite">STANWYKBecause we can't.

FLETCHAre you on ascavengerhunt of some kind?

  <fontsize="3" face="Prestige Elite">STANWYKI want you to come to my house.    Then we'lltalk.
<palign="center">  <fontsize="3" face="Prestige Elite">FLETCHI think you've got the wrong gal, fella.

STANWYKI'll give you a thousand dollars cash just to come to my house and listen to the proposition.    If you reject the proposition,you keep the thousand, and your mouth shut.

  <fontsize="3" face="Prestige Elite">FLETCHWill this proposition entail my dressing up as TinaTurner?

  <fontsize="3" face="Prestige Elite">STANWYK(unsmiling, all business)It is nothing of a sexual nature I assure you.(Takes a thousand in cashfrom his pocket)One thousand, just to listen.I don't see how you could turn that down Mr...

  <fontsize="3" face="PrestigeElite">FLETCHNugent.    Ted Nugent.

  <fontsize="3" face="Prestige Elite">STANWYK(shakes his hand)Alan Stanwyk.
<p