"BEVERLY HILLS COP" (1984)

We HEAR a pounding, high energy Soul/Rock song that captures the city heartbeat,

As the song continues we see quick images of Detroit:

3 A STEEL PLANT 3 dating from the turn of the century in full swing.

4 BURNED OUT TENEMENTS 4 in the shadow of new high rise hotels,

5 A BILLBOARD 5

put up by the United Auto Workers reading: "We don't like your Japanese car, Park it in Tokyo."

6 SEVERAL HOOKERS 6 in miniskirts wait outside an auto plant for the shift to change.

7 A GROUP 7

of what politicians call the "hardcore unemployed" watch kids keeping cool at an open fire hydrant.

Decrepit, abandoned factories line the block; there's no sign of life here. Halfway down the block, apparently deserted, is a huge Peterbilt l6-wheel semi. The door of the rear trailer is partially open.

The trailer is packed, almost floor to ceiling, with cases of cigarettes. There's a narrow aisle of sorts between the stacks of cigarettes. Two small time hoods, CARLOTTA and MIRSKY, stand in the center of the aisle, whispering to each other.

AS SHOT 5/14/84 *

9 CONTINUED:

And a case of cigarettes, dropped from overhead, narrowly misses Carlotta and Mirsky, landing at their feet. AXEL FOLEY, a very good~looking, out-going, totally unselfconscious man of 23, hons Gown INTO FRAME from the top of the stack of cigarette cases.

Axel is dressed very casually in a pair of jeans and a denim shirt.

Axel rips open the case he's tossed down from above, picks a carton at random, tears it open, and hands Carlotta and Mirsky a pack of cigarettes each.

Carlotta and Mirsky look at eachother, Carlotta turns the pack of stolen cigarettes over and over in his hands.

Carlotta raises his eyebrows: Mirsky nods.

Ll

AS SHOT 5/14/84 * 3 AS SHOT 5/15/84 **

9 CONTINUED: gx

Mirsky heads to the cab. Carlotta gives Axel a playfully affectionate slap on the cheek.

He hands Axel an envelope and Axel counts the contents.

10%** Mirsky looks up and down the empty street before hopping into the cab and cranking the engine.

Is that right? Lemme see that. Whad'ya know. I told my people it was five grand, right? But, look at this, they stifled us. Son of a bitch. Communication breakdowns and what not. I tell you whta, take the fuckin' two grand, don't hassle now, and I'll , make it up to you nice the next score you bring me.

Ll CONTINUED: 1

AS SHOT 5/14/84* AS SHOT 5/15/84** 3A

i~

You gonna be an asshole, you can fucking smoke the whole truckload yoursel=, I don't smecke. I got people I deal with. I can't go around fuckin' making up prices in my head.

7,

Axel and Carlotta notice a patrol car riding down the alley towards them.

Carlotta yanks the envelope away from Axel and steps ‘out of the trailer.

Carlotta has just jumped down from the rear trailer; Axel is

at the edge of the trailer, hand on the cord that lowers the rear door: they stand frozen.

THEIR P.O.V. 12

A Detroit police car has pulled up right behind them.

AXEL'S Lae

lips form the word "shit," but he doesn't speak out loud.

AS SHOT 5/14/84* AS SHOT 5/15/84** 4,

L5

ANGLE ON THE POLICE CAR 15*

Two youngish COPS, ties untied, bomber jackets half open hair rather too longa to go with the uniform cap, get out of their car.

IN THE CAB 1g**

Mirsky has the engine running. He stares out the side view mirror at the cops walking toward the truck. He licks his lips and puts the truck into gear, ready to take off.

AXEL 17* tries to play it cool.

The second cop has been staring at Axel.

_ SECOND COP Don't I know you from someplace?

. AXEL That's not me. I'm from Buffalo.

CARLOTTA 18** panics and runs toward a pickup truck parked across the street. The cops draw their guns. But Carlotta keeps running. The first cop chases after him.

OMITTED (Covered in Sc. 16) 19**

is still standing on the bed of hte rear trailer of the moving truck. The second cop yells at him.

SECOND CoP Get down offa there!

4/30/84 De

CONTINUED: 20

“- but Axel stays right where he is, hanging on as the truck gains speed. The second cop fires a warning shot; Axel braces himself at the side of the trailer to offer a narrow target but now the truck is going about 40 as it takes the next corner and

THE REAR TRAILER 21

bounces up over the curb as the truck cuts the corner too close, It looks like the truck is going to jackknife, but instead it comes out of the turn gathering more speed.

AXEL 22

is nearly thrown off the rear of the truck, but he hangs on,

THE DETROIT POLICE CAR 23 follows, Siren screaming. Its revolving red lights provide the only color in the otherwise monochromatic industrial landscape.

THE TRUCK | 24

hurtles almost out of control down streets and around corners as

MIRSKY 25

at the wheel takes increasingly demented chances, tfying desperately to get away from

THE POLICE CARS 26

— and two more cop cars join the chase as we watch.

THE GIANT TROCK 27

pounds over uneven railroad tracks at eighty-seven miles an hour; the fantastic vibration nearly shakes the suspension

apart, while back in

THE REAR TRAILER 28

the neat stacks of cigarette cases go flying everywhere and

AS SHOT 6/12 *

AXEL 29

is forced to play dodge-ball with cases of cigarettes that bounce past him and out into the roadway.

THE TRUCK SPEEDS DOWN 30 a street that comes to a dead end at an abandoned factory. Mirsky doesn't even slow down: he steers the truck toward the great gaping hole that was once the factory entrance,

The huge semi flies across the ancient, bare factory floor, scattering debris, sending up clouds of dust; without slowing the truck blasts out the other side. The police cars follow.

BACK IN THE SUNLIGET 32

the truck barrels down toward a major intersection. Mirsky hits the air horn.

AXEL IN THE BACK 33 is trying to hang on while

MIRSKY AIMS - : 35

at the center of a narrow one way street across the intersection.

AXEL IS FLUNG FORWARD 37

deep into the rear trailer as the truck abruptly slows; cases of cigarettes are flung forward on top of him.

AS SHOT 5/16 * AS SHOT 6/12 ** 7.

THE POLICE CARS * 38

skid to a stop behind the truck. Metal screams and crunches; finally the truck comes to a halt.

MIRSKY 39

hops out of the cabs and sprints up the street and into an alley; the cops can't chase him because the truck is blocking the way.

ANGLE ON THE REAR TRAILER 40 **

A pile of cigarette cases begins to move; Axel emerges from underneath them. He staggers toward the edge of the trailer.

REVERSE ANGLE ~~ AXEL'S BOvV 4l ** pu Six uniformed Detroit COPS are pointing their guns right at Axel.

A CoP Freeze, asshole!

Axel raises his hands and stands very still. Another of the uniformed cops -~- a SERGEANT =~ lowers his gun.

OMITTED 42

Axel pushes through the doors marked “Investigations Operation Division,"

Axel walks into a large room filled with desks; it looks like the city room of an old fashioned newspaper, with over-flowing file baskets, manual typewriters and dial telephones. There's been no new equipment or even paint in this room since the building was built in the '30's, and it sure showa. ‘

Ao Sou. 5, 40/84* 44 CONTINUED 44*

“FIRST CoP Way to go man.

JEFFREY FRIEDMAN, a twenty-eight year old detective, jumps up from his kesk and hurries toward Axel. If Jeffrey wasn't a friend, Axel probably would have shot him long ago. He's a classic nudge and he never stops talking.

JEFFREY

Todd's been looking for you all. day. He's really pissed. Says this is your worst fuck-up yet. But I think he's being unfair.

Axel glances toward a glassed-in office at the far end of the room. It's empty.

AXEL

That'll be the third asshole Todd's drilled.

AS SHOT 5/16/84* Pr

44 CONTINUED (2) 44*

Axel heads for the stairs at the far end of the room. Jeffrey comes around the counter and follwos after him.

Axel exits with Jeffrey behind.

AS SHOT 5/17/84*

OMITTED

Jeffrey follows Axel into a big old combination locker room/bathroom, which is filled with half-naked COPS. The cops applaud.”

Axel grins and gives them the finger as he walks through the bathroom toward his locker. Jeffrey tagging along.

They all heard about you and the truck, Axel.

AS SHOT 5/17/84* oA

CONTINUED: 46 *

Oh Shit.

AXEL

INSPECTOR TODD, a no-nonsense black man of forty-five with hints of grey at the temples, strides through the locker room towards Axel.

Jeffrey slides away from Axel. Todd storms right up to Axel.

AS SHOT 5/17/84*

disregard for proper procedure

INSPECTOR TODD

You damn right, wise-ass! The Mayor called the Chief, the Chief

called the Deputy Chief, and the

Deputy Chief ate my ass out, you

see I don't have a fuckin’ bit of it Left. Now, what the fuck were

you doing with that goddamn truck

full of cigarettes anyway?

AXEL

Well, that was from the Dearborn

hijacking.....

AXEL

Well, yes sir, but they didn't

exactly have room for it down there. It's a pretty long piece of equipment, but I don't have to tell you that.

Inspector Todd suddenly whips around and almost catches Jeffrey in the act of imitating him.

Jeffrey doesn't fool arcund with Todd. He goes to stand over there, Todd calls out to the other cops

You have a fuckin' squad here, Axel

why don't you use them. If you had someone stashed down the street

LO

46 -

AS SHOT 5/17/84*

AS SHOT 5/16/84* AS SHOT 5/17/84** Ag SEOT 5/23/84***

46 CONTINUED (3): AXEL 46**

46A

Well sir, I'm willing to chalk all this up to a valuable learning experience if you are.

Todd studies Axel for a moment.

Todd starts walking away.

Todd turns.

AXEL ; The chief didn't chew on your ass. You still got an ass left.

Axel turns to Jeffrey.

Axel comes out of the massive building and gets into his illegally parked Chevy Nova.

It's almost dark and there are very few streetlamps on this rundown street, but that doesn't deter the neighborhood KIDS - 90% black, 0% rich - from playing stickball. The kids make way for Axel's car. Axel parks his Nova in front of a hydrant and waves to the kids; the kids are all friendly with Axel and they wave back.

AS SHOT 5/21/84*

Axel pauses outside his apartment door. It's slightly ajar. Axel unholsters his service revolver and enters

quietly.

4g*

AS SHOT 5/18/84*

Axel enters his apartment after finding the door has been left ajar. He.cocks his gun and slowly works his way to kitchen where he finds his old friend MICHAEL TANDINO sit

eating a sandwich.

, AXEL I see you darker. Thought you were a Puerto Rican. Where you staying? You gotta stay here, I insist you Stay...

AS SHOT S/1°,.:*

AXEL

I don't care. I don't want to hear.

MIKEY

Wait, I got you a surpirse. Close your eyes.

My eyes are closed.

AS SHOT 5/24/84*

POOL PLAYER

Bullshit.

The pool player makes the shot. Mikey shrugs his

Axel and Mikey move to the bar and sit down.

30*

shoulders.

AS SHOT 5/24/84* 15.

50 CONTINUED (2):

30*

Mikey gives the waitress a twenty.

They get up to

AXEL

I do remember. Yeah, you had to go to jail.

Come on, let's get outta here. leave and Mikey leaves his paper sack behind. AXEL

Don't forget your Deutsch marks stupid.

They move toward the exit and we cut to:

AS SHOT 5/24/84* 14a,

Axel plays pool with a pool player. Mikey sits at the bar watching.

I don't know. Where are you working at?

AS SHOT 5/21/84* 16.

Mikey leans up against the wall as Axel unlocks his apartment door.

CASEY, an ugly thug, is coming down the stairs. Axel looks at Mikey who is suddenly sober and very nervous, then turns to look at Casey.

With terrifying suddenness, before Axel can turn around,

a blackjack slams down on his head. The force of the blow knocks Axel across the narrow hallway; he tumbles down it as Casey throws Mikey into a wall.

The man who hit Axel steps out into the hallway. He is ZACK DANTON, born to be a professional murderer.

friend.

ty

ro]

oon

wn ts

thru

AS SHOT $/21/84* L?, AS SHOT 5/22/84**

CONTINUED: 31%

Zack puts his arm around Mikey's shoulders and starts

to walk him down the hallway. Suddenly Zack throws Mikev to his hands and knees and puts a silenced .22 to the back of his head, and fires twice.

. 52 OMITTED thru "33

A fair sized crowd of silent onlookers, almost all black, stand behind the police barricades set up around Axel's building. Uniformed policement stand around in front of the barricades, bored.

(CONTINED)

AS SHOT 5/22-23/84* 18

AXEL'S BUILDING - NIGHT 54x

A fair sixed crowd of silent onlookers, almost all black, stand behind the police barricades set up around Axel's building. Uniformed policemen stand around in front of the barricades, bored.

Seven unmarked and marked Detroit police cars and two wagons from the medical examiner's office are parked out front, their revolving red and amber lights splaying on

the buildings on both sides of hte street. Axel sits on

the stoop of the building, staring straight ahead. His friend Jeffrey, pale and subdued, comes out of the building and sits down beside Axel.

You can stay at my place.

SGT LOU RAND, comes out of the building and walks down the steps. He ignores Jeffrey but can't resist a snide comment to Axel.

RAND walks away.

Todd is right behind them talking to some policemen.

AS SHOT 5/22-23/84*

AXEL walks up to Todd.

AXEL and TODD step aside.

AXEL

We're talking about a friend of mine, here.

AS SHOT 5/22-23/84* L9A,

CONTINUED (2):

TODD studies

Axel for a moment.

vacation you've ever heard of.

“=

thru

AS SHOT 5/25/84* eu.

OMITTED thru

It's after closing time. Axel waits in the hallway. A BODYGUARD approaches. BODYGUARD Mr. Karpinowski will see you now.

The staff is cleaning up. Sitting at a small table eating an elegant meal is EMIL KARPINOWSKI, a powerful Detroit

crime figure;

this restaurant is his front.

MR. K.

I knew the reason you came, and we had nething to do with it. Mikey was a sweet kid, wild and crazy maybe, but he didn't deserve that. He called here yesterday. He said he had some stuff he wanted me to handle for him. He was gonna come by tonight, but we know he's not gonna show.

AS SHOT 5/25/84*

59B CONTINUED:

Axel studies 3

Pause.

thru OMITTED

598* MR. K, (reluctantly) Yeah, I heard he worked for some guy out there that moves a lot Of shit. AXEL I need a hand here, man. MR. K. Lemme tell you something. These guys out on the west coast are independents. They go around and do their shit and don't ask anybody's permission. You gonna try and find the guys who killed Mikey? Trust me Axel, you're out of your league. And that's all I can tell you. K. for a moment. AXEL So tell me something. Would [I be making a mistake if I went . out to Beverly Hills? MR. K. Yes you'd be making a mistake, but you'd be on the right track.

thru

AS SHOT 5/21/84* 23. AS SHOT 5/23/84**

AS SHOT 6/11/84***

AS SHOT 6/12/84****

Axel pulls jeans, shirts, shoes and underwear and money from his jumbled drawers and jams them into a larce drawstring laundry bag. From the back of the closet AXEL opens the footlocker.

63 CLOSER ON THE FOOTLOCKER 63 * He digs around and finds various equipment. 64 CLOSE ON THE CASE 64 *

Axel opens it and takes out a pistol and two spare magazines. The pistol is a 9mm Browning Hi-Power, a wicked weapon that looks like a high-tech version of the Colt 45; the clips hold ]5 rounds each. Axel weighs the weapon in his hand, then puts it and the spare magazines in the cardboard box. He unclips his service revolver and tosses it in as well.

Axel puts the cardboard box in trunk of the Nova, tosses the Laundry bag into the back seat and slides behind the wheel. The engine roars to life.

His expression is relentlessly purposeful.

DISSOLVE TO

This is the kind of day~- bright, clear, 72 degrees, smog

free-- that lured millions of people over the years in their innocence to come and live in Southern California.

(SC. 65AA) ****

AS SHOT 6/11/84* 24

thru OMITTED 67 69 thru . 69

We follow Axel past the serene, haughty Presbyterian Church; he turns north and drives up a tree lined street of handsome big homes incongrously packed together on mall lots. Axel turns to look at the Rolls, Mercedes, Clenets that pass by. There are no people on the sidewalks; the ocassional gardener is the only sign of life. Axel's Nova crosses Sunset-~ we get a great view of the Beverly Hills Hotel--and cruises through the gentle hills north of Sunset. Here the homes are grander the lots bigger, the landscaping even more lavish. Axel turns south again and drives down Rodeo Drive. TOA EXT. RODEO DRIVE--DAY TOA ° After it crosses Santa Monica, Rodeo is no longer a residential street: it's the heart of the Beverly Hills so-called golden triangle. Axel drives down it. 70B A KNOCKOUT ; 70B California blonde woman with surgically enhanced breasts and a dog. 70¢c AXEL 70¢ stares at her, then tromps on his brakes. ;

70E THE CARTIER 70E security guard walks to the curb, staring suspiciously at right at Axel. 70F AXEL 70F ignores him; he grins at 70G THREE TEENAGE GIRLS 70G

unfortunatly on the chubby side, wearing designer sweatshirts a la Flashdance with the neckline cut off so the the shirt exposes the shoulder.

70H

70d

AS SHOT 6/5/84* 24a AS SHOT 6/11/84**

AXEL CAN'T BELIEVE 7OH**

the silly clothes people are wearing on this street. He can see where they buy them.

BALD MANNEQUINS 7QL

in boutique windows display trendy, trashy and~~to Axel's eye-~ really dumb looking clothing.

AT THE BASE OF RODEO 70g** is the landmark outside.

Axel pulls into the driveway of the Beverly Palms ; a

Latino kid--his name tag reads MIGUEL--yanks open the

door; startling Axel: there isn't much valet parking in Detroit.

_ MIGUEL You checking in today, sir? AXEL That depends. Is this place real expensive? MIGUEL

Not for Beverly Hills. May I take your bag?

Axel's never stayed at a hotel where someone takes the bags.

71A

AS SHOT 6/5/84* 25

CONTINUED: Tye

Miguel shows as little shock as possible at the sight of the laundry bag.

Axel is at the registration desk. He's a little awed and uncomfortable in the big lobby. -

advance. Thank you.

NTINUED: CLERK 7LA*

I'm sorry Mr. Foley, there's nothing here under that.

Hotel Manager enters

AS SHOT 6/3/84*

7LA CONTINUED:

thru

B0A

AS SHOT 7/17/84

OMITTED

A couple of WELL DRESSED SHOPPERS and a LADY WITH A poG are admiring a highly abstract painting in the window of

the Hollis Coyne Gallery. Axel looks at them, looks at the painting, shakes his head and goes on in the door.

Axel enters and wanders through the gallery, not knowing

thru

°BO .

B80A

quite what to make of it. He saunters to a large sculpture

of manniquins sitting at a table. One of the young salesmen, Serge, glides up to him.

Serge regards that with some suspicion. He calls to his

assistant, Donny.

_ SERGE Donny, can you tell Miss Summers that an old acquaintance, a Mr. Foley (mmm) is here to see her.

Axel smiles. Then his attention drifts back to the

absurdist sculpture. He exchanges confused glances with

a statue of a leering butler that is chained to the

table.

AS SHOT 7/17/84 *

_like this.

Jeannette's smiling face suddenly pops out from the balcony overhead.

AS SHOT 7/17/84 *

Axel saunters toward the staircase. to meet him.

JEANNETTE

you

Jeannette comes down

Oh god. It's good to see you.

You look good.

AXEL

Yeah. You look old.

JEANNETTE

Fuck you. What's this stuff.

AXEL

Man stuff. Can we go somewhere and

talk.

AXEL

You've filled out. Sit down.

god, I've got an important customer upstairs, but it'll only take ten minutes. You want

something to drink?

AXEL

offéred

Can you talk for two seconds.

27a |

AS SHOT 7/17/84 *

JEANNETTE

Oh no. Is he in some sort of trouble again?

B81

AS SHOT 7/17/84 * 2a.

CONTINUED (3):

He came to Detroit and somebody killed him.

Axel and Jeannette look at each other for a moment.

Jeannette's phone buzzes. She ignores it.

The phone buzzes again. Jeannette finally picks it up.

She hangs up.

As SHOT 7/17/84 *

CONTINUED (4):

Yeah...can you image that. He worked at the gallery's warehouse.

fhe PHONE BUZZES again. Jeannette answers it.

She hangs up.

JEANNETTE

Damn!

(composes herself) Axel, I'm sorry. I have to go . upstairs for a few minutes.

hone? phone JEANNETTE Sure.

Jeannette exits. Axel begins to look through her rolodex.

— asus

83A *

AS SHOT 6/29/84 * 30A.

The RECEPTIONIST sits at the base of a stairway leading to offices above. Axel approaches her. He is carrying a plant with a bow tied around the pot.

Axel starts up the stairs.

~ RECEPTIONIST Wait a minute! Deliveries are to be left at this desk.

He continues up the stairs. . RECEPTIONIST Wait! You just can't go up there.

Axel shoves the plant on the Secretary's desk. As he blows past her:

Axel continues towards Maitland's office.

; SECRETARY Hey, you can't go in there.

Axel exits into Maitland's office.

AS SHOT 6/29/84 *

"86 MINTE MAITLAND: S PRIVATE ORFICEIDSR, 86 «

Axel enters office. Maitland sits at his desk with 2ack Standing next to him. Zack stiffens at the sight of Axel.

in. I'd like to ask you some questions about Mikey Tandino.

Maitland and Zack exchange looks. Maitland studies Axel for a moment. ‘

Yeah. He worked for you, didn't he?

Oe a a de ed

« AS SHOT 6/29/84 * eae

Maitland looks at Zack and then Axel.

AXEL

Could you tell me exactly what kind of work Mikey did for you?

Maitland studies Axel for a long moment.

Maitland pushes a button on his desk.

Four security guards enter the room. MAITLAND (to guards) Gentlemen, could you please show Mr. Foley the way out. The guards move in on Axel.

The guard takes Axel by the arm.

A scuffle ensues and the guards pounce on Axel. Maitland and Zack exchange looks.

86A

AS SHOT 6/29/84 * 318.

Zack and the seven huge goons carry Axel, still struggling violently, toward the entrance to the building. Axel gets a foot free and kicks a goon, who crashes to the floor, but two others grab the free foot before Axel can do any

more damage with it.

AS SEW. “/is/b4 * 42.

There's a sense of calmness and serenity until suddenly a lobby window EXPLODES and Axel comes flying out. Axel is shaken up but unhurt; slowly, he gets to his feet,

A black-and-white Beverly Hills Police car bounces up on the sidewalk and the two officers, COPELAND and GRANT, run toward Axel.

Axel puts his hands on the roof of the car. Officer Grant, who looks like an Eagle Scout, frisks Axel quickly but

thoroughly, removes Axel's gun, then cuffs Axel's hands behind his back.

Copeland is very formal and polite.

(MORE)

87 *

87 CONTINUED:

Copeland and Grand put him in the car and it takes off.

88 OMITTED

AS SHOT 6/13/84 > «23/84 **

OMITTED 88 x

The police car with Axel inside drives up Crescent in front of the imposing Beverly Sills City Hall. The ornate building with its carefully tended lawn and swaying palm trees is a living symbol of the traditional Beverly Hills,

The car swings right then right again to come up behind the

building. A lighted green sign points to the POLICE DEPARTMENT, which has the south wing of city hall.

An OFFICER unlocks the door of the spotless holding cell and beckons wordlessly to Axel.

The officer almost bumps into Axel as he stops abruptly right inside the door of the operations room,

Axel looks around at the kind of police department God would buy if He had the money.

(CONTINU ED)

AS SHOT 7/24/84 * 35.

CONTINUED: 32

Not that there are any luxuries — no Gucci uniforms — it's just that here in this room ig best and the latest police equipment, some that Axel didn't know was invented yet, The officer takes his elbow to lead him across tie room.

This isn't anything like the squadroom back in Detroit, There are fourteen detective desks; each has a computer terminal. Behind a glass partition ig the main frame computer. A twenty foot long electronic map of Beverly Hills dominates the far wall; a pair of dispatchers, seated at a computer console six feet in front of it, can see

in glowing red, green and blue lights the precise location of every police car, fire truck and ambulance in town,

The officer guides Axel to a detective's desk; the detective nods to the officer, and he leaves,

SGT. TAGGART, at 45 a senior detective, is unusually short for a cop but wiry and compact; he looks very tough and has a hair-trigger temper. ROSEWOOD, his partner, is young, California blond, sizx~-foot-three, very skinny and awkward in movement. They come around their desks to stand in front of Axel. Taggart has a computer printout in his hand. Axel's gun is on the desk beside hin.

. AXEL You guys always treat people from out of town like’ this?

Taggart's face reddena. He can't remember the last time a prisoner spoke to him this way, and he doesn't like it.

- AS SHOT 7/24/84 *

x ~

92 CONTINUED: (2)

broke in and started tearing up the a place, then jumped out the window. ge AXEL

And you believe that? You don't fucking investigate? You guys cops or doormen, here?

SGT. TAGGART a (enraged) We're more Likely to believe an impertant local businessman than a foul mouthed jerk from out of town.

SGT. TAGGART come . (standing up) ‘ You watch your mouth.

; AXEL I aint watchin shit. You watch your mouth. And Taggart punches Axel in the gut. Axel doubles over, but dan't really hurt. A voice = sharp but not loud - - brings Taggart and Siddons to attention.

os

Faggart! ESE,

Yes, Lieutenant, an

All the detectives in the room wear quiet, well-pressed 2c suits, conservative shirts, ties knotted all the way up, highly polished shoes; their hair is short and combed at 7 all times. Now we see the man who sets the example for

them: LIEUTENANT ANDREW BOGOMIL, Chief of Detectives for

the Beverly Hills Police department. Bogomil speaks to Taggart in a low voice; Taggart, pale, walks back over

to Axel, Bogomil follows a step behind.

teak ne. cence a Ney catlinnenadiones iat Eva fs hE il Ban a

AS SHOT 7/24/84 * 36A,

Everything Axel to be though, is

(3) 92

Sir, I apologize fer striking you, I have no excuse.

up to now, including the punch, has seemed to

a normal cop=-prisoner exchange. This apology, outside Axel's experience,

AS SHOT 7/24/84 *

CONTINUED: (4) AXEL

AS SHOT 7/24/24

CONTINU ED:

Axel winces

38,

(4) 92 *

slightly hearing the name.

AS SHOT 7/24/84 *

CONTINUED: (6) 92

for bail. ROSEWOOD {to Axel) This way please sir. AXEL

You're a polite bunch of I'll give you that much.

Bogomil ignores this comment. He motions Taggart over and speaks with him privately as Rosewood leads Axel across the operations room toward the door.

«get ene 8:

AS SFOT 6/13/84* 40.

Axel and Jeannette come out of the building and walk across to the parking lot.

JEANNETTE

No I don't. If it wasn't for Victor Maitland I'd still be waiting tables. Besides I'm mad at you. You lied to me to find out his address.

They continue walking

92A

thru

96A

AS SHOT 6/13/84 * 7/19/84 ** SUAS

AXEL

Look, the night Mikey was killed he showed up at my apartment with a whole stack of German bearer bonds. It's possible that he stole them from whoever had him killed. As soon as TIT mentioned his name, Maitland had me thrown out the window.

Jeannette opens the passenger door of her Mercedes 450 SLC for Axel.

Axel gets in. Jenny walks around and gets in. OMITTED

As they drive:

92A

thru

96A

96A

36B

AS SHOT 6/6/84 * 6/8/84** 7/19/84 ***

tx q2 OG n

CONTINUED: S6A xxx

Py .

Jeannette pauses for a second.

JEANNETTE

Axel...why were you bothering Victor? You don't think he had anything to do with Mikey getting killed, do you?

Axel fiddles with the rear view mirror.

Jeannette and Axel leave the 450 SL with the valet and go

into the hotel; seconds later, Taggart and Rosewood's unmarked car pulls into a parking spot on Wilshire right in front of the hotel entrance.

kk

Axel and Jeannette enter. ; AXEL Can you believe it?

AS SHOT 6/8/84* qi.

Axel picks

up the room service menu and dials the pdhone.

Hello, room service? This is Axel Foley in suite ]035. I'd like to order something from your supper menu but I want it delivered to a car parked on Wilshire just outside the hotel; a beige Ford with two guys in it... very conservative fellows. Sure you can. I'ts not far and I'll give you a nice tip.

(Looking at menu)

Okay, one bay shrimp salad sandwich...Is the cold poached salmon with dill sauce tasty? Okay, one of those, too. Also send ‘em a couple of beers. And something nice for dessert. Great thanks a lot.

AXEL

Hey, I earn a good salary. I live alone. I have low overhead. I could go on like this for three days.

98A

AS SHOT 6/35/84* AS SHOT 6/6/84**

414 thru

AS SHOT 6/8/84***

Axel hurries in,

97 tee

The room service waiter, carrying a fully loaded tray, raps on the window of the brown Plymouth.

and looks around.

KITCHEN WORKER

‘The buffet plate is 12.50. You

get oranges, plums and bananas.

98B

AS SHOT 6/6/84*

CONTINUED: 98B * A valet has delivered the 450 SLC to the driveway.

Rosewood scarfs down a last bite and reluctantly hands the Plates back to the waiter.

REVERSE ANGLE - THE COPS POV 99 *

Jeannette waits beside the 450 SLC. After a second Axel arrives, and for the cops’ benefit, makes a show of getting into the convertable

Jeannette drives slowly down Wilshire, while Axel looks in the side rear view mirror.

104A

1048

104¢

AS SHOT 6/6/84 * 7/12/84 ** 7/15/84 ***

The police car's engine chokes on its own exhaust and dies,

Taggart cranks the starter but the engine won't turn over.

OMITTED 103

The 450 SLC goes across the alley and down a ways to the Gallery warehouse. Jeannette parks the car and they get out.

. AXEL Is this the place? . JEANNETTE I'm still not sure I should be doing this. AXEL

You don't have to do anything. But when you hear glass break that's just me kicking the window in.

Axel and Jeannette walk down a ramp past the loading dock toward a small iron staircase that leads up to the door,

Jeannette

uses her key on the door. She and Axel enter.

Axel and Jeanette walk down a narrow corridor; at the end

of it is a solid steel door. Axel plays his flashlight over it,

a)

104C

thru

5/5/84 46A. thru 48

CONTINUED: 104C

Jeannette flips the switch on a grey metal and glass box on the wall. The box glows green. She places her palm on the ground glass plate and the device scans her palm print. The great steel door glides silently open.

OMITTED thru

Axel and Jeannette leave the steel door open behind them. The warehouse is pitch dark. Axel shines a flashlight around, revealing a big collection of weird modern sculpture, including some gigantic pieces by Zoltan Corongolini, the famous conceptual sculptor. Many more pieces are packed in crates of various sizes, At the far end of the warehouse are big garage doors.

- (PAGES 47 & 48 ARE OMITTED) +*

lil

AS SHOT 7/12/84 * 7/15/84 **

Now Axel and Jeannette are in the warehouse. Axel scoops up some of the substance that is underfoot. Jeannette can tell that Axel is excited by his discovery.

AXEL

Coffee grounds! Do you know what these are used for?

Oh Shiti!

But suddenly there's a loud GRINDING NOISE and a bright overhead light comes on. Jeannette makes a move to go see what's going on -~- it's her warehouse, after all-- but Axel pulls her down, out of sight behind a big crate; he pockets a sample of the substance from the floor. The grinding noise turns out to be the automatic garage doors Opening. JEANNETTE Axel. I'm allowed to be here.

ANOTHER ANGLE Lio**

A dark blue van backs up into the warehouse.

AXEL'S POV 111**

Jeannette and Axel watch as THE FIRST VAN GUARD, a tough- looking California bodybuilder wearing a security company uniform, gets out of the van's passenger side to guide the driver in backing up the van toward the vault. The garage door GRINDS shut.

AS SHOT 7/12/84 * 7/15/84 ** 50,

WIDER ANGLE 112 *

The van is parked quite close to the crate Axel and Jeannette are hiding behind. The rear door that Axel and Jeannette came in is quite a distance away.

AXEL'S POV =~ THE SECOND VAN GOARD 113 ««

another huge bodybuilder type, gets out and opens the van's Sliding door :

The van contains a large crate; various labels and markings on the crate make it readily identifiable. They each take an end of the crate and set it on the floor,

LAST MINUTE AD-LIB LINES

Axel stirs with excitement when he sees what they remove from this compartment: From this distance they look awfully like the German bearer bonds that Mikey had,

The second van guard smoothes out the crumpled stack of bearer bonds and loads them into a Louis Vuitton case, while his cohort repacks the crate so that it looks like it was never opened.

Axel gestures to Jeannette to follow his lead. He begins to quietly back away on hands and knees; Jeannette follows.

1138

113¢

113D

AS SHOT 7/12/84 * 7/13/84 ** S1A.

Axel and Jeannette come out onto the iron staircase just as

REVERSE ANGLE ~~ THEIR POV 113c* The van reaches the top of the ramp and turns right. AXEL AND JEANNETTE 113pD *

run up the ramp toward the Mercedes.

They reach the car.

Axel jumps behind the wheel.

JEANNETTE

I've seen your car, I'm driving.

Axel speeds down the block and blasts through an intersection. As he crosses it he just gets a glimpse in the corner of his eye -—

AS SHOT 7/26/84 * 53.

115 QUITTED is ™

Taggart and Rosewood are standing before Bogomil. ee

LT. BOGOMIL oe A banana in your tailpipe. How could you not notice a man sticking a4 banana in your telipipe.

He gets the idea Billy. : '

BOGOMIL ; Late supper? And what did you have Rosewood “ye ROSEWOOD ' I think it was a shrimp salad . sandwich. BOGOMIL I want a shrimp salad sandwich to. . You two go back to the hotel and ; ca

wait for Foley. Don't bother calling in. © © #

oy

McCABE

We got something for you William- An anti-banana disguise. It may come in handy.

FOSTER a . It's a jungle out there Billy. TAGGART Very funny. 115B COVERED ; 115B * 115C COVERED - ; 1i5c +* 115D COVERED 115p * 116 OMITTED 116 | 116A COVERED 116A *

pe eee ee oe ee ee Lee ae me vent detainee unteenabertcsta,

thru

AS SHOT

6/1/84 * ry aaye. coe eee

As Axel and Jeannette drive.

AXEL

Who are those two guys? JEANNETTE

Some of Victor's security guards. AXEL

Is that what Mikey did? JEANNETTE

Yeah. AXEL

You ever see those things they were unpacking before?

Axel looks knowingly to Jeannette.

AXEL

I think your friend Victor's got some other business ventures going beside art.

Jeannette ponders the seriousness of Axel's suggestion.

OMITTED

thru

AIRPORT - CARGO AREA - NIGHT 124 *

This is the industrial area of LAX, far from the passenger

terminals.

Cargo airlines, fright forwarders and warehouses

line the street. Axel and Jeannette watch the van turn into the parking lot of one such airport warehouse. Axel pulls

to the curb.

AS SHOT 5/31/84* 56. AS SHOT 6/4/84 **

126A

1263

Axel turns off the ingnition and opens the door. AXEL

Okay. Why don't you take the car and go home.

JEANETTE

Io cant tell you that. It's a bonded warehouse. Our foreign shipments are held her til' they clear customs.

Axel ambles casually acress the parkina lot. “hile there's not a vast amount of activity this late at night, the warehouse

is still very much open for business. Axel watches as

THE DARK BLUE VAN 126A **

backs up to the loading dock at the far end of the parking lot.

AXEL L26B *

judges his moment and suddenly breaks to his right, he hops up on the loading dock platform nearest him.

AS SHOT 5/31/84* 57 AS SHOT 6/7/84 ** ;

126¢

128A 128B

128BB

thru

L30A

130B

130¢c

130D

Just inside the loading dock is a tall chain link fence designed to keep the public out of the warehouse proper. Axel hits the fence and goes over it, schoolyard style. in a flash.

OMITTED : 127

On the other side of the chain Link fence Axel ducks behind a pile of crates and looks around.

OMITTED 128A

A FORKLIFT 128BB*

is parked on the loading dock near the dark blue van; the OPERATOR is talking with the two Van Guards as

he loads the big crate from the van onto the lift. All three men. ingore Axel as he drives by on the floor polisher.

OMITTED thru

Taggart come out of the hotel and walks over to Rosewood, who is leaning up against their unmarked car.

The cart picks up the crate from the van and starts with it toward the front of the warehouse: meanwhile --

AXEL 130c *

Stands unloading a man unloading a crate. But turns to look at something off camera.

VAN GUARDS 130D *

jump down off the laoding dock.

AS SHOT 5/31/84* 58.

L30E A SECURITY GUARD L30E * rounds the corner. As he and Axel spot each other.

L30F INT. THE WAREHOUSE -- INTERNATIONAL AREA ~~ NIGHT 130F * The NIGHT SUPERVISOR storms out of his office.

. AXEL Are you the Supervisor?

AS SHOT 5/31/84* AS SHOT 6/7/84 **

130F

L31A

1318

OMITTED

58a.

& 59.

130F *

131A **

Now Wilshire is quiet and there is little activity in front of the hotel, where Taggart and Rosewood are still parked.

Rock music is playing on the car radio which Rosewood

enjoys but Taggart hates. Suddenly Taggart hits a button

and the music shifts to classical.

131B **

AS SHOT 6/1/84* 59A.

Axel stands in the center of the big main office with the night supervisor, whis is doing Axel's work for him.

CLERK #1 What's this all about?

The clerks are all shocked.

CLERK #1 (a wiseguy) You got some kind of warrant for this?

You know you've got a very big mouth. sir, I bet you got something to hide. ITs that your Porsche parked outside? You want to have a talk with the I-.R.S. about how some clerk can afford a Porsche? ;

{to Night Supervisor) Let me tell you something pal, let me tell all you guys something, I can heve twenty five agents here in fifteen minutes. We can put you people out of business. We can pull your bond and I'll do just that if I don't get some co-operation here.

The supervisor and the clerks are thouroughly intinated.

AS SHOT 6/1/84* 60. AS SHOT 6/7/84**

132 CONTINUED 132 *

GUARD #2 Anything you need.

CLERK #1 That's not my Porsche, no sir, I don't know who's it is.

Now Rosewood can't stand the classical music any more; he hits the radio button and it goes back to rock. Taggart gives him one quick look; Rosewood sighs and switches it back to classical.

thru

L54A

AS SHOT 6/7/84*

OMITTED thru

A cab pulls up behind Taggart and Rosewood's unmarked car. Axel gets out, pays the driver, then walks up to the unmarked car.

Taggart and Rosewood don't see Axel until he yanks open the back door and hops in the car, scaring the crap out of the two cops.

Axel expects that by now they will have seen the humor in his banana gag, but the Beverly Hills cops don't smile.

Now it's not so funny to Axel, either.

AXEL

You're kidding. Get outta here. (to Rosewood)

Fe's not kidding?

154A

AS SHOT 6/7/84* 62.

154A -

Okay fuck itAXEL

Well, I'm gonna go get a couple of drinks. You guys can try and tail

me if you Like, but you know it won't be too hard for me to loose your ass if I want. So what do you say? C'mon now, let's be friends.

Taggart is torn.

cur TO:

AS SHOT 5/29~-30/84 * 63.

154B

Axel, Taggart and Rosewood are sitting at a table right by the strupoer's runway. Taggart sits stonefaced with his back to the runway. For Billy Rosewood, on the

other hand, this is like a Penthouse letter come to life. he can't take nis eves off the STRIPPER. The strisccer snaps the back of Taggart's head with a feather boa. He does his best to ignore it, A waitress approaches.

AXEL

You guys crack me up with this on duty shit.

(seeing Billy squirming) You don't have to be embarassed if your dick gets hard Billy, that's the whole idea. See all these guys ~ their dicks are hard, Taggart's dick is hard but he can't admit it cause he's the boss.

(leaning toward Taggart) Look what IT found at Maitland's art warehouse. The stuff was all over the floor.

He hands a smaple of the coffee grounds to Taggart, who exmanines it. Meanwhile Axel hands a dollar to Billy.

The stripper dances up to Rosewood's dollar bill and motions for him to stuff it in her G-string. Rosewood's too shy.

Rosewood stuffs the bill in; Taggart turns around to see what his partner is doing practically puts his nose

in the stripper's crotch. He turns back, blushing ail the way to his bald spot.

AS SHOT 5/29-30/84 *

154B

CONTINUED 154B*

{to waitress)

Make sure we get the right drinks cause if I get club soda I'll vomit.

. Two men in long leather coats enter the strip joint. They

exchange a glance, then, pretending not to know each other the FIRST LEATHER COAT walks to the bar and orders a drink, while the OTHER moves to the far end of the room. They both look around furtively, checking out the joint. Only Axel notices this.

The waitress brings Axel, Taggart and Rosewood their drinks. The stripper who has been pulling her feather boa between her Legs begins to seductively wrap it around Rosewood's head.

Taggart does so and turns back to Axel.

AS SHOT 5/29-30/84 * 65

1548 CONTINUED (2) 1548*

Taggart's eyes head to the first Leather Coat and then lock with Axel's.

Axel and Taggart ignore him.

Taggart is torn between good police instincts and’a suspicion of Axel.

ROSEWOOD © Would somebody tell me what's going on?

Billy here'll make sure I behave. No bullshit this time.

Taggart decides to take the chance and gets up.

Taggart heads towards the Second Leather Coat. Axel picks up his drink and begins to stagger toward the First Leather Coat. Axel feigns drunkeness.

AS SHOT 5/29-30/84*

154B

65A.& 658.

CONTINUED (3) 1543”

Rosewood watches with confusion. The First Leather Coast pushes Axel to the ground and then rips the arm of the D.J.'s turntable. The place goes silent and both Leather Coats

pull out sawed-off shotguns.

There is panic in the bar until everyone settles down. Axel gets up and still deigning drunkeness staggers toward First Leather Coat.

Axel, now within striking range, disables First Leather Coat with some karate moves. Simultaneously, Taggart

now in position, puts his service revolver to Second Leather Coat's head.

Rosewood jumps up and pulls a gun on the First Leather Coat, who is now lying on his back.

The CROWD APPLAUDS. The Stripper plants a big kiss on Rosewood's cheek. Axel gooses the Stripper. The Stripper slaps Rosewood,

AS SHOT 7/25/84 * 65c.

Axel, Taggart and Rosewood arrive.

Taggart, would you mind telling me what you and Rosewood were doing in a porno bar outside of your juristiction while you were on duty?

super cops. The only thing missing are capes.

(To Taggart and Rosewood) Is that how it happened?

TAGGART AND ROSEWOOD

No, sir.

_ Re en ee Oe

L54H

1541

AS SHOT 7/25/84 *

Axel exits. and McCabe.

. CONTINUED

(to Taggart and Rosewood) I'll see you guys back at the hotel.

Bogomil stand at his door and calls to Foster

McCabe smirkingly winks to Taggart and Rosewood, who feel like shit.

OMITTED ~

t

. BOGOMIL You guys are off this case.

be

1541

pion taesntee.ectiinn 5 spn nen chitin rth, tie, ste: 1 sentence ntl tie sscheitacte ni alae dtd sk

AS SHOT 6/7/84*

AS SHOT 6/8/84**

Foster and McCabe are parked in front of the hotel, waiting for Axel. .

Just out of the shower, Axel holds the phone in one hand while toweling himself with the other.

AXEL

Helle, room service?

(pleased) Hey, that's right, how'd you know it was me?

(a beat) Yeah. Some breakfest. What do you figure they eat?

A group of well-dressed SHOPPERS stop and stare as our room service waiters take a tray out to Foster and McCabe.

“WAITER Good morning, gentlemen. Some coffee and donuts.

McCABE What? There he is.

Miguel pulls up in Axel's Nova. Axel hops behind the wheel. Foster and McCabe follow.

OMITTED 159

Axel turns on Sunset, nearly getting tangled up with

four stretch limos floating toward the Beverly Hills Hotel.

Axel turns right-~-heading north-- a block or so past the hotel. Foster and McCabe follow.

AS SHOT 6/14/84*

161 *

Axel drives up a long, curving stretch of road, then pulls

to the side of the road and stops. Foster and McCabe

pull over about one hundred feet back. On the right hand Side of the street, running the whole length of the block,

is a twelve foot tall hedge concealing a fence.

Axel stops in front of a very solid looking remote controlled electric gate.

AXEL'S POV

All Axel can see are trees, a stretch of lawn, flower and the corner of a big, Spanish-style home.

McCABE (cocky) We're the first team.

McCABE What are you doing up there?

162 *

L63 *

beds,

164 *

AS SHOT 6/14&15/84* 68

From up here Axel can see the magnificent grounds leading up to the mansion, a grand, rambling two story hacienda with a red tile roof; this estate is the epitome of Beverly Hills luxury.

McCABE Isn’t this Victor Maitland's house?

“ AXEL Yeah, I think so. This guy really knows how to live.

Axel pops the trunk of the Nova and, among piles of junk, there's a cooler with a six-pack and some sandwiches.

McCABE For a man who claims to be on vacation, you look a lot like you're _ On a Stakeout.

The big iron gates to the estate start to swing open. Axel Slams his trunk. A huge black Mercedes sedan with dark tinted windows turns out of the gates.

166A

5/9/84 69,

CONTINUED: 165 Axel slides behind the wheel of his Nova and takes off,

And he and McCabe take off after Axel.

Axel follows the Mercedes down Palm Canyon, across Sunset and south on various streets to Pico. Foster and McCabe stick close to Axel all the way; they tail him more obviously than Axel tails the Mercedes.

Axel stops behind the Mercedes at the light; the unmarked car crowds in behind Axel's Nova. The light turns green and the Mercedes takes off; the Nova lurches forward a few feet and stalls. Foster and McCabe's car nearly smashes into Axel and the cars behind nearly ram into the cops, HORNS BLARE. Foster yells out at Axel:

Axel grinds the starter again without success. Of course, Axel is faking this car trouble: he waits until the light just goes from amber to red and ZOOMS ACROSS the intersection. The intersection fills with cars before the two stunned cops can react. They hit their HORN then blast their SIREN to get across against the traffic, but when they do Axel's Nova is nowhere in sight.

166B

AS SHOT 7/2/84 * 70.

Meanwhile the Nova has caught.up to the Mercedes. Mercedes turns left then left again into a private drive marked "the Sportsman's Club, *

The Mercedes is waved through the security gate. Axel's Nova pulls up to the gate a second later. The SECURITY GUARD sneers at the Nova, probably the first American car he's seen that week.

The guard can't open the gate fast enough.

Axel pauses at the entrance to the Sportsman's Club dining room,

AXEL

I have to speak to Victor Maitland.

CLUB MAITRE D'‘ This is a members only cub; He's

here.

AXEL

I have to speak to Victor Maitland. It's very important.

CLUB MAITRE D'

Are you sure it's Victor Maitland you're looking for?

WV (CONTINUED)

AS SHOT 7/2/84 *

168 CLUB MAITRE D! 168 * Give me the message. I'll see that it get's to Mr. Maitland.

CLUB MAITRE D!' I think so.

Axel strides past a long buffet table and snags a shrimp as he goes by. He walks up to Maitland's table. Zack gets up but Axel ignores him.

Zack moves to Axel. AXEL Don't even try it.

A scuffle ensues and Axel flips Zack headlong into a large buffet table. Zack gets up, ready for action, but Maitland gently raises his hand to halt him. ; AXEL Can you make him roll over too?

AS SHOT 7/2/84* 7/3/84**

169 MAITLAND 169% I have nothing to say to you. AXEL That's OK. I'11l do all the

talking.

Axel sits at the table. Maitland icily stares at him. Axel returns it unblinkingly.

AXEL ek I know you're into a lot of vile shit and I also got a pretty good idea that you had Mikey killed. And when I prove that, I'm gonna fuck you up real bad.

fucking idea of who you're dealing with here.

The Maitre d' is hurrying toward the table with a pair of UNIFORMED BEVERLY HILLS COPS. Axel leans close to Maitland.

OFFICER #1 Step away from that table, please, sir.

AXEL

Gotta go now, Vic.

thru

186A

AS SHOT 7/25/84 * 73.

REVISED

OMITTED

Axel sits sheepish, the small

thru

POLICE DEPT. -~- BOGOMIL'S OFFICE -~ DAY 186A « ~— +

in front of Bogomil. Foster and McCabe, looking and Taggart and Rosewood, gloating, stand around room.

LT. BOGOMIL

Forget what you can prove. Talk to me.

AS SHOT 7/25/84 * 74.

186A . CONTINUED: (2) 186A x

AXEL

They never do. After Maitland's people get their hands on them they take out the bonds or drugs or whatever, fill the crates up with newspapers and get them back before customs’ gets a chance to inspect them, all they find is the newspapers.

AS SHOT 7/25/84 *

186A CONTINUED: (3) 186A +

TAGGART

You've said that before. What :do coffee grounds mean?

AS SHOT 7/25/84 * 76.

186A CONTINUED: (4) 186A *

LT, BROGOMIL (Cont'd) (to Taqgart) Taggart, start checking this out. Start with the L.A.P.D., the FBI and the Customs service.

. AXEL Look, I haven't been a cop as long as you but I know what I'm talking about: you won't be able to touch this guy unless~-~

The Beverly Hills cops straighten up as CHIEF HUBBARD opens the door to Bogomil's office. The Chief is 55, stiff backed, eye~glasses glinting, a cold professional. He wears a perfectly pressed uniform with stars on the epaulets, Lieutenant Bogomil ia crisp as ever in a dark guit, but next to his Chief he looks almost casual.

“LT. BOGOMIL Yes, sic.

Maitland's window? The man who disabled an unmarked unit with a banana?

-AS SHOT 7/25/84 * a”

186A CONTINUED: (5) on. le6a *

Yes, Sir.

Bogomil hurries out, Axel looks at the three other Beverly Hills copa,

\ AXEL He can't hear through walls, can he?

Bogomil walks back into the office,

The two charges of disturbing the peace against you have just been dropped by order of the Chief. But he says if you come hack into the city of Beverly Hills the charges will be reinstated and you will be prosecuted to the limit of the law.

L86A

thru

LOCA

_AS SHOT 7/25/84 *

running me out of town like some western?

thru

Maitland's black Mercedes pulls up and heand Zack get out. They head into the gallery.

AS SHOT 7/16/84 * 79.

Maitland and Zack approach Jeannette who is at her desk on the phone. Maitland hardly ever visits the gallery and his presence, along with Zack's, is cause for some alarm on Jeannette's part.

She hangs up.

JEANNETTE

Don't be silly.

Jeannette conceals her nervousness well.

_ JEANNETTE Uh... Yeah. We grew up in the same neighborhood. Maitland quietly studies her for a moment.

190B

AS SHOT 7/16/84 * 80.

CONTINUED (2) 190B

Maitland nods expectantly.

Maitland waits for more information.

Jeannette can't tell if Maitland knows she's lying.

Maitland's eyes search her face.

190B

AS SHOT 7/16/84 * BOA.

CONTINUED (3) 190B

They exchange subtext-ridden polite smiles. Jeannette watches as Maitland and Zack leave.

ALREADY SHOT 191

thru

~ * AS SiOT 7/18/84 81 thru 87.

Rosewood's car pulls into the loading zone in front of the gallery.

Axel and Rosewood.

OMITTED thru

ae

AS SHOT 7/17/84 * 87A-

Through the window we see Axel and Rosewood pull up and enter. They walk past Serge as they approach Jeannette,

. AXEL Yeah, I'll bet.

Axel and Rosewood exchange glances.

CONTINUED :

198A

198B

AS SHOT 7/9/84 * 7/17/84 ** 88.

CONTINUED: 197 **

JEANNETTE

Axel.

Tf any of this has to do with him getting killed, I want to check it out for myself.

AXEL

I don't have time to stand here and argue with you.

Jeannette gets her keys.

OMITTED 198

Rosewood's car pulls up opposite the warehouse.

AXEL O.K. Billy, your job is to sit here and observe. Don't do anything, don't make a move until I come out and get you.

1988

AS SHOT 7/9/84 * 7/10/84**

c'mon.

Axel and Jeannette head to the warehouse door. She opens it and they go in.

ef

Axel and Jeannette head through the maze of corridors. Jeannette punches up

They come to the security door. the combination.

not going to do it.

Axel and Jeannette head in through the security door.

rs ve. Sea ey esnnane

198B «+ 199 * 200 ee

ed ~ ** ee ee

AS SHO! §, 10/d4 . 90.

The warehouse appears to be deserted. Axel walks to a crate on the packing table and reads the customs notice.

201A ANGLE ON THE CRATE 201A *

Axel takes off, the lid. Underneath is a layer of wax with a length of wire buried in it. Axel pulls on the wire which cuts a large square in the wax. Now Axel can get his fingers in to take out that wax square; underneath the wax is a layer of coffee grounds.

He reaches through the two inch thick layer of coffee grounds and pulls out a black plastic bag. He takes a razor knife off the packing table and slits the bag open to reveal a white powder inside.

202 CLOSE ON AXEL AND JEANNETTE 202 * Axel takes a taste of the powder and looks to Jeannette.

Suddenly from behind them comes the click of pistol being cocked. It's Casey and one of Maitland's guards.

Casey and the guard wave their guns drawn on Axel and Jeannette.

~~

AS SHOT 7/1%,/66 * 91. & SILA.

202 CONTINUED: 202 «x JEANNETTE (to Casey, bluffing) Hey wait a minute. I work for Victar Maitland. You're going to be in big trouble when he hears about this. CASEY You can tell him yourself, he'll be here any second. 203 203 thru OMITTED thru 204 204 204A GONSIDERED COVERED 204A + 2048 CONSTDERED COVERED 2048 « 204C CONSIDERED COVERED 204C ,

Maitland leads his entourage down the twisting hallway leading to the warehouse's inner steel door:

Even Casey gets a little nervous when Maitland comes in. He levels his pistol at Axel. MATTLAND Seems we have guests. Maitland walks over to Axel and Jeannette. He looks back and forth from one to the other. He keeps his voice and Manner quiet and calm, but anger radiates from him like heat waves in the desert. MAITLAND What do we have here? How nice. Maitland studies Jeannette for a moment. /

comes iene ents i a te on - me ee a mi ote na ciian comiitipinsian ts pare cating

ray Se ee +m ~

AS SHOT 7/10/84 *

, 92, 204E CONTINUED: 204E * MAITLAND (continuing) I just can't tell you how much it disappoints me to find you here, Jeannette, I thought you were much smarter than that. (to Axel) I knew you weren't. JEANNETTE MAITLAND (suddenly overtly vicious) Shut up! I don't want to hear it now. AXEL Hey, Vicky-I know you don't think I came down here without calling someone. Let’s call it a day. Maitland eyes Axel curiously. 7 MAITLAND (to guards regarding Jeannette) Take her to my car and wait for me, JEANNETTE .. . What are you going to db with him? MAITLAND I think you should be more worried about what we're going to do with you. Get her out of here. AXEL I'm okay- We've got coffee, we've got cocaine, we're aonna have a blast. The guard escorts Jeannette out. 204EE E€O0NSIDERED COVEPED 204EE * 204F CONSIDERED COVERED 204F #*

thru OMITTED 207 .

a

209A 209B

AS SHOT

7/11/84 *

Axel glares at Maitland

Zack steps up to Axel.

Zack smiles to Axel who is covered with anger. Zack suddenly lets out a powerful blow to Axel's midsection. As Axel

bends over, Zack's smile sharply turns to a furious glare

as he slaps Axel twice.

With a knowing look to Casey:

AS SHOT 7/11/84 *

Axel is held by two guards. He glares at Casey. Casey studies Axel for a moment and then coddies the back of Axels head.

93A

210 *

AS SHOT 7/10/84 * 94.95,

212A

2128

212c

213A

CONTINUED: 210 * PARTIALLY COVERED ON ORIGINAL PAGES

PARTIALLY COVERED ON ORIGINAL PAGES 2li *

Casey draws his pistol from his shoulder holster and starts firing at Rosewood. .

Rosewood downs Casey with one shot.

Axel breaks free of the two guards and kicks the shit out

of them. ROSEWOOD

Jesus Christ!!

Axel and Rosewood run down the corridor.

5/14/84 v/s 96.

Axel and Rosewood jump down off the loading dock and sprint up the alley and across the street to Rosewood's car,

214 214 thru OMITTED thru 240 240

Rosewood is on the radio,

The two dispatchers have their desks in front of the big electronic map of Beverly Hills. Sgt. Taggart is leaning over them to talk into one of the microphones.

| ROSEWOOD'S VOICE

Just check out the warehouse, and don't say anything to Bogomil, please,

Taggart looks over at Bogomil's office. He can see Bogomil through the glass walls; Bogomil is hard at work, oblivious to the little scene in front of the dispatchers desk,

DISPATCHER

Sorry sir, he's not transmitting anymore,

(CONTINGED)

AS SHOT 7/26/84 * 9GA.

241 CONTINUED: 241: *

Foster and McCabe, who have been watching thia from their desks, come up.

Taggart punches the desk. SGT. TAGGART That stupid kid! f gotta go stop him. Don't say anything about this to anyone. .

Taggart turns away to go, then turns back to the dispatcher,

. oo Ppa:

AS SHOT 6/15/84 * 7/26/84 ** ; 97.

241 CONTINUED: (2) 241 oxx-

The dispatcher hands Taggart a slip of paper; Taggart hands it to Poster.

Taggart runs for the dogg,

Rosewood's car is parked at the cucb in front of the huge bi hedge bordering the Maitland estagg, Axel and Rosewood are looking at the main gates. ‘“ ‘

Axel and Rosewood arrive up alongside the hedge until they reach a amaller side gate to the estate.

ROSEWOOD

“I guess I'd better give you this now. .

Rosewood hands Axel the 9mm Browning Axel brought from Detroit, together with Axel's spare clips. Axel shoves the gun in his waiatband and the clips in his pocket,

AXEL

Come on. (pointing to the gate)

Axel takes out a pair of thin lockpicks from his wallet.

ee Or . « On

AS SHOT 6/27/84 * 98.

244 244 thru OMITTED thru 246 246

We PULL UP from Axel and Rosewood until we can see OVER the hedge to the Maitland mansion beyond. We MOVE CLOSER to the mansion until we are CLOSE on an UPSTAIRS BALCONY

AREA.

Jeannette is sitting on the sofa. Maitland's aide

zack is with him.

Maitland gets up and walks over to her.

Maitland LASHES OUT with the most vicious open handed slap ever seen. Jeannette topples off the couch, unconscious, Maitland pokes her lightly with his toe.

249 249 thru OMITTED thru 253 253

AS SHOT 6/15/84 * 98A-99,

Taggart's unmarked car smokes up to the curb and Taggart gets out in a fury. Rosewood looks a little pale.

Axel ignores Taggart and continues to work on the lock,

ROSEWOOD

No he didn't Sarge. Look, everything Axel said about Maitland

was right, and he's kidnapped a woman and is holding her in that house.

~

AXEL

Look man, I'm opening this door. I'm going inside. You want to stop me shoot me.

Ce ee = . ~ o

thru

AS SHOT 6/15/84 * 100.

CONTINUED: 254 «

. ROSEWOOD Really, Sarge. You can do whatever you want, but I'm going with Axel.

The lock clicks opeén.

But Axel goeS in. Rosewood moves to follow.

It's against his every instinct, but Taggart just can't let his young partner go it alone.

Taggart opens the trunk of his car and comes back with his riot shotgun. He follows Axel and Rosewood through the gate.

OMITTED thru

AS SHOT 7/20/84 * 101.

two of Maitland's men, uniformed as GUARDS, sit at a console filled with security systems, TV monftors, and electronic diagrams of the estate. There's a red light blinking on one of these.

SECURITY GUARD #1 (to phone)

He hangs up the phone and starts working on the Tv monitors.

SECURITY GUARD #1

(PAGES 102-110 OMITTED)

269A

AS SHOT 6/19/84 * 102 thru 111.

™~

Axel, Rosewood and Taggart are creeping up toward the pool, Yaggart starts forward; Axel holds him back, pointing to a amall TV camera mweeping back and forth.

Rosewood sprints tdOward the camera,

The guards punch up various views on the dozen TV monitors that cover the extensive grounds, but none of them show Axel, Rosewood and Taggart.

Axel approaches a guard at poolside and starts to hit

him when another guard hits Axel and Axel downs both of them.

But then Azel slams into the guard from behind, knocking him out.

Taggart and Rosewood help Axel bundle the unconscious guard dnto one of the little dressing rooms off the poolhouse,

270A

270B

270C

thru

275A

2753

5/12/84 112.

Suddenly one of the TV monitors shows Axel -- Rosewood and Taggart are in shadow.

GUARD #1 Freeze that. (to the phone) You better get the boss down here.

Taggart goes to the right, while AXEL. AND ROSEWOOD 270C ons

go around to the left.

OMITTED thru

Lt. Bogomil comes out of his office and looks around. LT. BOGOMIL Where is everybody? Is Rosewood back? Ownby, have you seen Taggart? DET. OWENBY He left with Foster and McCabe about 20 minutes ago. LT. BOGOMIL Thanks. Bogomil walks over to the dispatcher's console.

Maitland and zack are looking at the frozen image of Axel on one of the TV monitors,

5/12/84 113,

DISPATCHER #1 (to radio) DD 13, come in please, DD 9, come in please,

DISPATCHER #2 They must be away from their cars, sir.

DISPATCHER #1 (punching up on computer) A Victor Maitland, sir.

277 ANGLE ON BOGOMIL 277

He's not real happy to hear this. He walks over to Detective Ownby's desk.

Owenby Knows better than to ask questions.

Bogomil turns back to the status board, reading the glowing symbols of the moving cars.

278 278 thru OMITTED thru 279 279

Six of Maitland's GOONS, heavily armed, run out of the house and down the steps of the terrace. One of them spots Rosewood.

279A

2798

279C

279D

5/12/84 114.

CONTINUED: 279A

GOON #1 There they are!

He opens fire, A ROW OF BULLETS 2798

splinter into the railing and smash the flower pots in front of Axel and Rosewood. Rosewood does as he’s been te trained. He holds up his badge and shouts:

Axel yanks Rosewood's arm back down just in time as the rest of the goons open fire at the two cops. Axel squeezes * off a few shots with his Browning.

Now Taggart has come up against a wall; he's trying to haul himself up when a line of bullets nearly graze his fingers. He drops back down.

ANGLE ON AXEL AND ROSEWOOD 279D xx

They are pinned down by Maitland's goons. As Axel speaks he swiftly ejects the Browning's spent clip and smacks in a new one.

Taggart. I'm gonna try to make it * to the house. Ready? One. Two, Three,

And Axel pops up for a second to draw fire, then Rosewood goes off to his right and the fire eswiches to him, then Axel jumps up again and fires, hitting one of the goons who topples off the terrace. The other goons take cover and when they do

5/13/84 115 thru 117.

280 280 thru OMITTED thru 290 290

Bogomil is still hovering right behind the dispatchers' console. one of the dispatchers turns to him,

The MDT 800 terminal BEEPS loudly, the screen is wiped Clean and replaced by the following message:

10-13 ASSIST OFFICER

LOC 1901 PALM CANYON RD. BH/LOS GATOS SHOTS FIRED

CAUTION PLAINCLOTHES OFFICERS ON SCENE

The second status button on the MDT 800 is labeled "en route." The OFFICER in the passenger seat hits this button while the DRIVER hits the switch for the siren and lights.

Two Beverly Hills police cars cross Sunset in a flash, sirens howling.

Lt. Bogomil sprints out of the department's “officer only" entrance toward an unmarked car; in it, Detectives Ownby and Hopkins are waiting with engine running, rear door open, The detectives are carrying rifles as ordered. Bogomil jumps in the back seat.

295 THE UNMARKED CAR 295 rockets out onto Rexford, siren screaming -- it's halfway

across Santa Monica Boulevard before Bogomil gets the back door shut.

thru

302A

5/14/84 116.

Axel, pistol ready, walks quietly through an empty upstairs * bedroom.

A birds-eye view of Beverly Hills shows dozens of police

cars converging on the Maitland estate.

The first six Beverly Hills cars are already here,

The two guards from the security monitor room are now on

the grounds searching for the intruders. The SOUND of ke nearby police SIRENS has shaken them up.

SECURITY GUARD #1 You want to stick around?

SECURITY GUARD #2 Hell no.

They run toward the garage area.

OMITTED ; thru

A pair of officers are trying to climb around the huge hedge while a SERGEANT backs his car up and rams it into the gates. The gates buckle but don't give.

Rosewood is retreating from the goons using the shelter of the lower terrace. He hears a noise behind him and

spins around: it's Taggart, retreating from the other

direction,

303A

303B

303¢C

304A

5/13/84 11s.

It's very quiet here in contrast to the bedlam outside, Axel kicks open a door, but the room's empty. He walks on * down the hall, but then spins around as he hears

A DOBERMAN GUARD DOG 303A «x

growling. Axel and the dog look at each other for a moment, then the dog charges and Axel sprints into the empty bedroom he'd just kicked in the door of,

AXEL SPRINTS ACROSS 303B x

the bedroom and just beats the dog into the bathroom; Axel slams the door and takes a deep breath of relief which lasts only and instant because

THE DOG CHARGES IN 303C **

through a connecting bathroom door that Axel didn't see behind him,

Axel jumps up on the sink and from there gains a perch precariously on top of the sliding shower stall doors. The dog leaps insanely at Axel.

Taggart and Rosewood are still pinned down by Maitland's goons. They can hear many sirens, but no reinforcements have arrived. Rosewood is reloading his revolver.

The Doberman is still trying to leap up at Axel. Carefully Axel slides open the door of the shower stall, then dangles his foot down inside the shower. The crazed dog jumps into the shower to get Axel's foot; Axel slams the shower door shut and hops down on the outside, leaving the dog harmlessly locked inside the shower.

304B

304C

304D

304E

304F

3046

3048

5/14/84 LLOA.

A couple of POLICE OFFICERS are trying without success to disable the automatic front gate.

Axel stalks through one of the main rooms. Without any warning a bullet hits him high on the right shoulder and spins him around,

AXEL'S GUN HAND 304E

can't grip anymore, He tries to transfer the gun to his left hand.

MAITLAND 304F

walks calmly over to the alcove. He smiles, cocks his gun, then spins around into the alcove, blasting away.

ANGLE ON THE ALCOVE 304G But Axel isn't there. Maitland is shooting into an empty alcove. The only sign that Axel ever was there are a few spots of blood on the floor.

MATTLAND , 304H

hurries over to the stairs.

Now a big police Chevy has backed up across the street: it accelerates and gets up a good speed before ramming the gate. The gate bends, it buckles, then with a tremendous CRASH it's torn loose and carried away.

Maitland rushes into his study, opens his safe, and starts filling a suitcase with cash and bearer bonds. He ignores Jeannette, who is still lying where she fell when he hit her.

kk

xk

ke

xx

kk

*®

xk

kk

306A

306B

5/14/84 1198.

CLOSE ON JEANNETTE 306A

She's not unconscious anymore; she's eyeing Maitland covertly. She gets up very quietly, picks up a table lamp and creeps up behind Maitland. She'd love to bash his head in. But suddenly

MATTLAND 306B

alerted by a shadow, whips around and drives his fist into her gut.

k*

thru

309A

309B

309C

309D

3095

309F

309G

5/14/84 120.

OMITTED thru

The two security guards hop in the van parked near the

front door and gun it down the drive. They meet half

a dozen Beverly Hills Police cars speeding up it. The

van turns off the narrow drive and crashes into a fountain, «* smashing it; a great plume of water shoots up.

THE POLICE CARS 309A xx smash first into the van and then into each other, a five

car accident in this narrow driveway. Steam pours from the radiators,

Owenby and Hopkins' car, carrying Bogomil, flashes through the wreckage of the main gate and halts just before hitting the pile-up of police cars. *

Bogomil looks at the chaotic scene.

He hops out of the car and leads them, sprinting, for the + house,

Axel is walking up the stairway, hugging close to the wall; his shoulder wound leaves a smear of blood on the white

paint. Alerted by a noise he drops down; a spray of bullets slam into the wall over his head,

ZACK 309E xx is on tHe balcony opposite, holding an automatic weapon, AXEL 309P xx

braces his gun between two railings of the banister and fires back.

ZACK 309G xx

catches the bullets in the chest. He topples over the balcony.

5/14/84 L20A.

Taggart and Rosewood are now joined by shotgun bearing uniformed OFFICERS. Two of Maitland's thugs are wounded; the others look around, ready to run, but where can they go?

Rosewood pokes his head up, more cautiously this time.

The goons look at each other, then lay down their guns and surrender, Billy Rosewood grins at Taggart.

AS SHOT 6/26/84 * 121.

311 311 thru OMITTED : thru 313 313

Axel's halfway down the hall, about to kick in another bedroom door; he suddenly spins around as he hears Jeannette shout a warning behind him. Maitland fires,

but Axel drops to the floor; Maitland's shot misses, Axel can't fare back because Maitland is using Jeannette as

a shield.

Maitland, keeping a very tight grip around Jeannette'’s

throat, backs down the hall toward the spiral staircase. He has a gun to her head. .

3135 AXEL 313B *

is on the floor halfway down the hallway; he is trying to line up a shot with his left hand but the chance of hitting Jeannette is much too great. Suddenly

313¢ FROM BEHIND AXEL 313¢ * Bogomil shouts:

Bogomil, with dis at the other end of the hall; Axel is between them and Maitland and Axel can't tell if Bogomil's command was meant for him or Maitland.

313D MAITLAND HOLDS JEANNETTE 313D * even more tightly

Maitland ia at the staircase now; in a second he'll be out of the line of fire. But Maitland cannot resist bringing his.gun away from her head to take a shot at Axel, This gives Jeannette a chance to jam her elbow into Maitland's stomach and break free.

- ee Te ne ee = gant sy ry ie Are sg RY

3138

313FP

313G

3138

AS SHOT 6/26/84 * . 122.

ANGLE DOWN THE HALLWAY . 313E* Axel and, beyond him, Bogomil both fire.

MAITLAND 313F « hit twice, staggers backward. He fires and the bullet tears a chunk out of the wall in front of Axel's face,

Then

ANGLE ON THE SPIRAL STAIRCASE 313G «

Maitland tumbles over the banister and down the center of the stairwell. "

IN THE HALLWAY 3138 x

Bogomil has come down the hall to stand beside Axel; they exchange a look: Bogomil's expression is unreadable,

AS SHOT 6/21/84 *

. 123.

314 314 thru OMITTED ' thru 327 327

Now ambulances and fire trucks, paddy wagons and tow

trucks have joined the confusion in front of the mansion. 328A FOSTER AND MCCABE'S CAR 328a

pulls up. The two young detectives look around at the

action they've missed before running off to find Taggart. 329 TWO PARAMEDIC AMBULANCES 329

are just inside the gate. A PARAMEDIC is bandaging Axel's wound. Rosewood and Jeannette are near him. Jeannette has an icebag on her head where Maitland hit her.

329A ANGLE ON THE TERRACE ~- AXEL'S POV 329A *

Axel watches as Foster and McCabe run up to Taggart. Axel surmises they're reporting on what they found at the gallery warehouse. As Axel watches, Bogomil comes down

the terrace steps and Taggart hurries up to report to him. Bogomil looks startled, then his eyes sweep around until they lock with Axel's. Bogomil looks speculatively at Axel.

329B ANGLE ON AXEL 329B * He winks at Bogomil. Then he turns to Jeannette.

; AXEL Are you sure you're all right?

Axel start3 to look under the ice bag. She stops him.

. AXEL Let me take a look.

AS SHOT 6/21/84 * 123A.

329B CONTINUED 329B *

He starts to uncover his wound. He sees. 329C CHIEF'S HUBBARD'S CAR 329¢ * Pull in.

Hubbard walks toward the house past the steaming radiators of his police cars and past the smashed fountain still spouting water. Hubbard looks like the wrath of God.

Hubbard is so angry at so many things, he hardly knows where to begin. But them suddenly he barks out:

330 ANOTHER ANGLE 330 »«

Rosewood starts to stammer.

AS SHOT 6/21/84 * 330 CONTINUED 330 *

CHIEF HUBBARD

I'm standing in the middle of what looks like a battlefield. We have police on private property without warrants. Mr. Maitland and four other civilians are dead, We have a detective from Detroit who was supposed to be escorted out of town by now and you have a report that can explain all of this.

~ LT. BOGOMIL Yes, sir.

{he takes a breath) Detective Foley was at the time cooperating in a joint Beverly Hills/Detroit investigation of narcotics trafficking. ,

Hubbard's eyebrows shoot up, but he doesn't say anything.

Hubbard's eyes shoot to Rosewood who is nervous and has no idea where this wild tale is going.

At that point Maitland arrived and a gunfight ensued, during which Miss Summers was abducted by Maitland. Rosewood immediately called for backup and I dispatched our officers to this location. Sgt. Taggert here was first to arrive at the scene.

AS SHOT 6/21/84 * | 125.

330 CONTINUED (2) 330 * Hubbard's eyes now land on a confused Taggart.

Believing that Miss Summers was in danger and having probable cause to believe a felony was in progress, Sergeant Taggart joined Rosewood with Detective Foley present as an observer and proceeded to enter the grounds. At this point a person or persons on the property assaulted and attempted to kill the officers by firing on them. The officers returned fire and in the course of lawfully defending themselves the officers shot several suspects, including Mr. Maitland.

Hubbard looks at Bogomil. Bogomil's eyes hold CHief Hubbard's for a long moment. Chief Hubbard's expression isn't readable. He turns to Taggart.

; CHIEF HUBBARD Sgt. Taggart! Why don’t you tell me what happened here?

Rosewood's eyes widen with nervous anticipation. SGT. TAGGART It happened just like the lieutenant . said, Chief.

Chief Hubbard's expression isn't readable. He walks over to Axel.

Rosewood, Taggart, and Bogomil all hold their breath. Then:

et ee

AS SHOT 6/21/84 * 126.

330 CONTINUED (3) 330 *

Hubbard walks away. Axel and the Beverly Hills cops can't help grinning in relief.

. AXEL You were lyin’ your ass- off, BOGOMIL

Why don't you go to the hospital and get your shoulder looked at.

Bogomil walks away, after a moment Axel follows.

I understand. Oh. I was hoping you'd speak to my boss Inspector Todd back in Detroit. . But that's okay, I understand. It's cool I guess i'm out of a job now. I'm starting to like Beverly Hills. And I'm thinking of starting my own private investigation.

Axel walks back to Jeannette and smiles.

AS SHOT 7/5/84 * 7/6/84 ** 126,Pr

wee

330 CONSIDERED COVERED 330 *

Axel exits the elevator and heads toward the reception desk. His wounded arm is in a light sling, and he holds his laundry bag with the other.

Taggart and Rosewood approach Axel. —

is a very nice gesture. ROSEWOOD

Bogomil ordered us to make sure you got out of town.

AS SHOT 7/5/84 * 7/6/84** 127.

Taggart nods.

331 *

are taking care of that. SnFEL No.

(to the clerk)

You sell those hotel robes down here right.

Axel hands Rosewood a robe.

Rosewood goes

to pay the bill.R'wood starts toward the door.

Axel follows him.

Taggart nods.

rest that arm.Billy take care of that.

vou. I think I'm coing to miss you. tf your ever in Detroit...

Axel hands him the other robe.

: ” (CONTINUED)

. . = ee + ke

xx

eatthnteniriy ome Wty

AS SHOT 7/5/84 * 7/6/84 ** 128.- 128A.

Maybe my wife will like it.

Axel and Taggart exit.

Taggart and Rosewood's car is parked in the hotel driveway. Axel and Taggart exit from the hotel and are waiting for axel's car.

But they love me.

There's a hint of a smile on Taggart's lips. Rosewood exits from the hotel. Axel's car arrives. The attendant gets out.

ial

Axel gets in the car.

re = ene ete em we nae ee apm oe mts ee a i

Wee ee

AS SHOT 7/5/84 * 7/6/84** L293.

Taggart looks

332 *

to Rosewood and smiles.

AXEL

Yeah, Billy, listen to Taggart. Lighten up:

Taggart and Rosewood get in their car. Axel sticks his head out of his car window.

As they drive

~~ ee oT

off...

TAGGART

; xk Where are we going anyway?

Pad

wen “ we med ae -