Title: F/X
Content:  The unsolicited screenplay was written by two novice writers, actor Gregory Fleeman and documentarian Robert T. Megginson. Producer Jack Wiener read their script, which was submitted as a low-budget television movie, and felt that it should be made into a theatrical release. Wiener and his co-producer Dodi Fayed hired Robert Mandel, an Off-Broadway director. They did not want to hire an action director, but instead wanted a director who would bring a realistic touch to the film and make the audience care about the main character. Mandel accepted the job because he wanted to dispel the perception that he was a "soft, arty director". Initially he was not impressed with the film's screenplay, which he felt was not well-crafted but felt that it provided for "a lot of action and a lot of things I did not have 
Title: The Story of Ruth
Content:  In 1957, Simon Windelburg was announced as the film's screenwriter. Michael Kanin and his wife, Fay Kanin, who were later hired to write the screenplay, wrote treatments for the film. Frank G. Slaughter wrote a screenplay based on his 1954 novel The Song of Ruth: A Love Story From the Old Testament. Norman Corwin wrote an entirely new screenplay after summer 1958. Corwin submitted his final draft of the script on September 1, 1959. Production began in late November 1959 and ended in mid-February 1960.
Title: It's Pat
Content: I resisted it completely. I just didn't know how we could make it last for two hours. But 20th Century Fox was really keen; our producer was really keen. So we thought, OK, we'll write the script. And after three months, we fell madly in love with the script. Unfortunately, Fox did not. The film was written by Sweeney, Jim Emerson (Sweeney's friend from their days with The Groundlings ), and Sweeney's former husband, Stephen Hibbert. While at the Groundlings, Emerson suggested that the character Pat, at the time a "character based on annoying co-workers who don't leave you alone", be made androgynous. Three months before the film's release, Sweeney commented on her initial reluctance to do a film based on Pat:  Touchstone Pictures decided to produce the film, after Fox bowed out. Quentin Tarantino revealed that he was an uncredited writer on the script.
Title: Fletch (film)
Content:  abdicate the role of Fletch to you." Bergman remembers that he wrote the screenplay very fast. "I did the first draft in four weeks ... Then there was a certain amount of improv, and something that we used to call dial-a-joke," said Bergman. Phil Alden Robinson also did some uncredited work on the script. Mcdonald read the script and was angered by the deviations from his original text. He wrote to the studio and listed his many objections. Director Ritchie invited Mcdonald to the set of the film, and took him out to dinner where, according to Mcdonald, "Point by point, he showed me where I was wrong. I was beautifully chewed out."
Title: Nathanael West
Content:  as a screenwriter by RKO Radio Pictures, where he collaborated with Boris Ingster on a film adaptation of the novel Before the Fact (1932) by Francis Iles. West and Ingster wrote the screenplay in seven weeks, with West focusing on characterization and dialogue and Ingster focusing on the narrative structure. RKO assigned the film, eventually released as Suspicion (1941), to Alfred Hitchcock; but Hitchcock already had his own, substantially different, screenplay. Hitchcock's screenplay was written by Samson Raphaelson, Joan Harrison (Hitchcock's secretary), and Alma Reville (Hitchcock's wife). West and Ingster's screenplay was abandoned, but the text can be found in the Library of America's edition of West's collected works.
Title: Suspicion (1941 film)
Content:  In November 1939, Nathanael West was hired as a screenwriter by RKO Radio Pictures, where he collaborated with Boris Ingster on a film adaptation of the novel. The two men wrote the screenplay in seven weeks, with West focusing on characterization and dialogue as Ingster worked on the narrative structure. When RKO assigned Before the Fact to Hitchcock, he already had his own, substantially different, screenplay, credited to Samson Raphaelson, Joan Harrison, and Alma Reville. (Harrison was Hitchcock's personal assistant, and Reville was Hitchcock's wife.) West and Ingster's screenplay was abandoned and never produced. The text of this screenplay can be found in the Library of America's edition of West's collected works.
Title: Frank Fenton (writer)
Content:  partnered on twenty-one film projects for Twentieth Century-Fox, Goldwyn, RKO and MGM. In 1938, Fenton branched out into magazine writing, penning a total of nine short stories for Collier's in just over a two-year period (see "Short Stories" in "Selected bibliography" below). He also wrote what many consider to be a classic (and satirically biting) look at the way "original stories" and screenplays were produced in Hollywood in an article for The American Mercury. During these years, Fenton could be found in one of three primary places: behind his typewriter, out on the town with his writer friends (often in the back room of Musso & Frank's restaurant on Hollywood Boulevard ), or on a golf course.
Title: Against All Flags
Content:  the script was rewritten by Joseph Hoffman and Anthony Quinn signed early on as the villain. By November Howard Christie was set as producer, George Sherman as director and Maureen O'Hara the co-star. Sherman later wrote that Flynn was unsure about the scene where he fenced against a woman. He said "I'm supposed to be the bravest guy on screen? How could I fight a woman?" Sherman had worked with O'Hara before and assured him she was capable of holding her own "with a sword, a gun or her fists if need be" and warned Flynn he needed to be in shape.
Title: Hampton Fancher
Content:  negotiate with Dick. Dick agreed, and Fancher was brought on to write a screenplay before Kelly would later enlist the support of producer Michael Deeley. This made Fancher the executive producer, which led to disagreements with eventual director Ridley Scott, who then brought in David Peoples to continue reworking the script. Scott and Fancher had already clashed concerning the movie, as Scott felt the original script did not sufficiently explore the world of the movie, choosing instead to focus on the interior drama. Fancher's rewriting process was too slow for the production crew, which nicknamed him "Happen Faster". The movie was ultimately filmed and released as Blade 
Title: Coyote Ugly (film)
Content:  Kevin Smith, who did an uncredited rewrite of the script, stated that a total of eight writers worked on the script while the Writers Guild of America only gave credit to Gina Wendkos, who wrote the first draft of the script, which, according to Smith, scarcely resembles the final film. (See WGA screenwriting credit system.) Jeff Nathanson wrote a draft that director David McNally credits as the draft that "brought the thing home"; Nathanson was credited on the initial theatrical poster but not in the finished film. Carrie Fisher also wrote a draft.

Question: Who was the screenwriter for Fingers?
Answer: James Toback.
James Lee Toback.