"BEVERLY HILLS COP" (1984)

11B EVERLY H I L L S COP"

Screenplay by

Daniel Petrie, Jr.

Story by

Danilo Bach

&

Daniel Petrie, Jr.

This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department.

Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNT PICTURES CORPORATION REVISED FINAL DRAtT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated

7/26/84

AS SHOT

11B EVERLY H I L L S CO P11

Screenplay by

Daniel Petrie, Jr.

Story by

Danilo Bach

&

Daniel Petrie, Jr.

This script is not for publication or reproduction, No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department.

Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNT PICTURES CORPORATION REVISED FINAL DRAFT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated

7/26/84

AS SHOT

11B EVERLY H I L L S CO P 11

Screenplay by

Daniel Petrie, Jr.

Story by

Danilo Bach

&

Daniel Petrie, Jr.

This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify and/or return to script department.

Don Simpson-Jerry Bruckheimer Prods. in association with Eddie Murphy Prods. PARAMOUNT PICTURES CORPORATION REVISED FINAL DRAFT 5555 Melrose Avenue May 14, 1984 Los Angeles, CA 90038 (213) 468-5000 w/Revisions dated

7/26/84

AS SHOT

AS SHOT 5/14/84*

"BEVERLYHILLS COP"

l EXT. THE CITY OF DETROIT-- HELICOPTERSHOT -- DAY l

we HEAR a pounding,high energysoul/Rock song that caJ?turesthe city heartbeat.

As the song continueswe seequick images of Detroit:

3 A STEEL PLANT 3

dating from the turn of the centuryin full swing.

4 BURNED OCJTTENEMENTS 4

in the shadow of new high rise hotels.

5 A BILLBOARD 5

J?Utup by the CJnitedAutoWqrkers reading: •we don't like your JaJ?anesecar. Park it in Tokyo.•

6 SEVERALHOOKERS 6

in miniskirts wait outside an auto J?lantforthe shift to change.

7 A GROUP 7

of what politicians call the "hardcore unemJ?loyed"watch kids kee]?ingcool at an OJ?enfire hydrant.

Decrepit, abandoned factories line the block;there's no sign of life here. Halfway down the block,apJ?arently deserted, is a huge Peterbilt 16-wheel semi. The door of the rear tr aileris J?artiallyopen.

The trailer is J?acked,almost floor to ceiling,with cases of cigarettes. There's a narrow aisle of sorts betweenthe stacks of cigarettes. TWO small time hoods, CARLOTTAand MIRSKY, stand in the center of the aisle, whis]?eringto each other.

(CONTINOED)

AS SHOT 5/14/84 *

9 CONTINUED: 9*

And a case of cigarettes,dropped fromoverhead, narrowly misses Carlotta and Mirsky, landingat their feet. AXEL FOLEY, a very good-looking, out-going, totallyunselfconscious man of 23, hops down INTO FRAME from the topof the stack of cigarette cases. Axel is dressed very casually ina pair of jeans and a denim si1i!"t.

Axel rips open the casehe's tossed down from above, picks a carton at random, tears itopen, and hands Carlotta and Mirsky a pack of cigaretteseach.

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

Carlotta raises his ey~brows: Mirskynods.

AS SHOT 5/14/84 * 3 ASSP.OT 5/15/84 **

9 CONTINUED: 9*

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

He hands Axel an envelope andAxel counts the contents.

Mirsky looks up and down theempty street before hopping into the cab and cranking the engine.

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

11 CONTINUED: ll*

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

CARLO'!"!'A Fuck this. Nice doin' business with ya, kid.

Carlotta yanks the envelope away from Axel and stepa'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 lower• the rear door: they stand frozen•.

THEIR P.o.v. 13*

A Detroit police car has pulled up right behind them.

14 AXEL'S 14**

lips formthe word •shit,• but he doesn't speak out loud.

AS SHOT 5/14/84* AS SHOT S/15/84** 4 .

15 ANGLE ON THE POLICE CAR 15*

Two youngish COPS, ties untied, bomber jackets half open hair rather too long to go with the unifor:ncap, get outof their car.

16 IN THE CAB

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.

17 AXEL 17*

tries to play it cool.

The second cop has been staring at Axel.

SECOND CO1? Don't I know you from someplace?

18 CARLOTTA 18**

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

19 OMITTED (Coveredin Sc. 16)

20 AXEL 20**

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

SECOND COi:> Get down offa there!

4/30/84 5.

-- 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

21 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.

22 AXEL 22

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

23 THE DETROIT POLICE CAR 23

follows, s1ren screaming. Its revolving red lights provide the only color in the otherwise monochromatic industrial landscape.

24 THE TRUCK 24

hurtles almost out of control down streets and around corners as

25 MIRSKY 25

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

26 THE POLICE CARS 26

- andtwo more cop cars join the chase as we watch.

27 THE GIANT TRUCK 27

pounds over unevenrailroad tracks at eighty-seven miles an hour;the fantasticvibration nearly shakes the suspension apart,while back in

28 THE REAR TRAILER 28

the neat stacks of cigarettecases go flying everywhere and

AS SHOT 6/12 *

29 AXEL 29 *

isforced to play dodge-ball with cases ofcigarettes that bounce past him and out into the roadway.

30 TEETROC.~SPEEDS DOWN 30

a streetthat comes to a dead end at an abandonedfactory. Mirskydoesn't even slow down: he steers the trucktoward thegreat gaping hole that was once the factoryentrance.

The huge semiflies across the ancient, barefactory floor, scatteringdebris, sending up clouds of dust;without slowing thetruck blasts out the other side. The police cars follow.

32 BACK INTHE SONLIGE'T 32

the truckbarrels down toward a major intersection. Mirsky hits the airhorn.

33 AXEL IN TEEBACK 33

is trying tohang on while

34 IN THE INTERSECTION 34

cars swerve outof the way of the truckwhich

35 MIRSKY AIMS 35 *

at the centerof a narrow one way street acrossthe intersection.

36 THE TROCK BLASTS 36

across the intersectionand up the one way street,but the street is just ahair too narrow for the giant truck:its sides catch on theparked cars on either side of the street, ripping themopen.

37 AXEL IS FI.ONGFORWARD 37 *

deep into the rear traileras the truck abruptly slows; cases of cigarettes areflung forward on top of him.

AS SJaOT5/16 * AS SHOT 6/12 *\" 7.

38 THE POLICECARS 38

skid to a stopbehind the tru~k. Metal screams and crunches;finally the truck comes to a halt.

39 MIRSKY 39

hops out of thecabs and sprints up the street and into an alley; thecops can't chase him because the truck is blocking theway.

40 ANGLE ON TEEREAR TRAILER 40 **

A pile of cigarettecases begins to :nove;Axel emerges from underneaththem. ae staggers toward the edgeof the trailer.

_..,\

41 REV'E.RSEANGLE- AXEL's rov 41 ** r( I

Six uniformedDetroit COPS are pointing their guns right at A%el.

Axel raises hishands and stands very still. Anotherof the uniformed cops-- a SERGEANT - lowers his gun.

Sbit.

Axel pushes through thedoors marked "Investigations Operation Division.•

Axel walks into a largeroom filled with desks; it looks

like the city room ofan old fashioned newspaper, with

over-flowing file baskets,manual typewriters and dial telephones. There's beenno new equipment or even paint in this room since thebuilding was built in the 'JO's, and it sure shows. ·

44 CONTINUED 44*

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.

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

AS SHOT 5/16/841r SA

44 CONTINUED (2) 44 *

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

Axel exits with Jeffrey behind.

AS SHOT 5/17/84* 9

45 OMITTED

J INT. LOCXER ROOM DETROIT POLICE HEADQUARTERS - DAY 46 "

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

Axel grins and gives them the finger ashe walks through the bathroom toward his locker. Jeffrey taggingalong.

AS SHOT 5/17/84* 9A

46 CONTINUED: 46 *

INSPECTOR TODD, a no-nonsense black manof forty-fivewith hints of grey at the temples, strides throughthe locker room towards Axel.

Jeffrey slides away from Axel.

Todd storms right up to Axel.

AS SHOT 5/17/84* 10

InspectorTodd suddenly whips around and almost catches Jeffrey inthe act of imitating him.

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

AS SHOT 5/17/84* lOA

46 CONTINUED 4-6

AS SHOT 5/16/84* AS SHOT 5/17/84** ~S SHOT 5/23/84***

46 CONTINCED (3): AXEL

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

Todd studies Axel fora moment.

Todd starts walking away.

Todd turns.

AXEL

You still got an ass left.

Axel turns to Jeffrey.

Axel comes out of themassive building and gets into his illegally parked ChevyNova.

It'salmost dark and thereare very few streetlamps on thisrundown street, but that doesn't deter the neighborhoodKIDS - 90%black, 0% rich - from playing stickball.The kids make way forAxel'scar. Axel parks hisNova in front of a hydrantand waves to the kids: the kids areall friendly withAxel and they wave back.

AS SHOT 5/21/84*

Axel pauses outsid~his apartment door. It's slightly ajar. Axel unholstershis service revolver and enters quietly.

/

AS SHOT 5/18/84*

Axel enters his apartment after finding thedoor has been left ajar. He.cocks his gun and slowlyworks his way to the kitchen where he finds his old friendMICHAEL TANDINO sitt~~; eating a sandwich.

l4

AS SHOT 5/1'.:,~:*

49 CONTINUED: 49 *

Mikey pulls outa !cudHawaiian print shirt from his bag.

AS SHOT 5/24/84* 14B.

50 CONTINUED: 50*

The pool player makes the shot. Mikey shrugs his shoulders.

Axel and Mikey move to the bar and sit down.

AS SHOT 5/24/84* 15.

so CONTINUED (2): 50*

Mikey gives ~he waitress a ~wenty.

They get up to leave and Mikey leaves his paper sack behind.

Theymove toward the exit and we cut to:

AS SHOT 5/24/84* 14A.

Axel plays poolwith a pool player ..Mikey s~ts at the bar watching.

,JennySummers.

'(XEL Yeah, I buy allmy art there.

AS SHOT 5/21/84* 16.

Mikey leans up against thewall as Axel unlocks his apartment door..

CASEY, an ugly thug, iscorningdown the stairs. Axel looks atMikey who issuddenly sober and very nervous, then turns to lookat Casey.

With terrifying suddenness,before Axel can turn around, a blackjack slamsdown on his head. The force of the blow knocks Axel acrossthe narrow hallway; he tumbles down it as Casey throwsMikey into a wall.

The man who hitAxel steps out into the hallway. He is ZACK DANTON, bornto be a professional murderer.

AS SHOT 5/21/84* 17, AS SHOT 5/22/84**

51 CONTINUED:

:.!IKEY There was a whole box. I didn't think anyone would miss 'em. Why don't you just take 'em back and :orget about 'em? ~he whole thing. Please Zack.,Please...

Zackputs his ar.naround Mikey's shoulders and starts to walk him down the hallway. Suddenly Zack throws ~ikey to his hands and knees and puts a silenced .22 to the back of his head, and fires twice.

thru OMITTED thru (

'

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

(CONTINED)

AS SHOT 5/22-23/84* 18.

AXEL'S BUILDING - NIGHT 54*

A fair sixed crowd of silent onlookers, almost allblack, stand behind the police barricades set up arour.dAxel's building. Uniformed policemen stand around in frontof the barricades, bored.

Seven unmar·kedand ma:::-kedDetroitpolicecars and two wagons from the medical examiner's office are parkedout front, their revolving red and amber lights splayingon the buildings on both sides of hte street. Axel sitson the stoop pf the building, staring straight ahead. His friend Jeffrey, pale and subdued, comes out of thebuildins and sits down beside Axel.

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

I AXEL

I'm okay.

RAND walks away.

Todd is right behind them talking to somepolicemen.

AS SHOT 5/22-23/84* 19.

54 CONTINUED 54 *

AXELwalks up to Todd.

AXEL andTODD step aside.

TODD

/' Don't start with me now, Axel.

AS SHOT 5/22-23/84* 19A.

5-ICOciTDlGED I 2 I : j'1It: (

( TODD

Stay away from this case,Axel.

TODD studies Axel for a moment.

AS SHOT 5/25/84*

thru OMITTED thru

It's aft.erc·losingtime.. ~xel waits i:1:.hehall·,.;ay.

A BODYGUARD approaches.

The staff is cleaning up. Sitting at a small tableeating an elegant meal is EMIL KARPINOWSKI, a powerfulDetroit crime figure; this restaurant is his front.

(CONTINGED)

AS SHOT 5/25/84*

59B CONTINUED: 595*

:-IP.K. (reluctantly) Yeah, Iheard he worked !or some guy out there that moves a lot of shit.

:-IP•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 tryand find the guys who killed Mikey? Trust me Axel, you're out of your league. And that's all I can tell you.

Axel studiesMr. K. for a moment.

/ be making a mistake if I went

out to Beverly Hills?

Pause.

thru OMITTED thru

AS SHOT 5/21/84* 2 3. AS SHOT 5/23/84** AS SHOT 6/11/84*** AS SHOT 6/12/84****

Axel pulls jeans, shirts, shoes and underwear andmoney

from his jumbled drawers and jams them into a large drawstring laundry bag. From the back of the closet;,,.;cs:::., opens the footlocker.

63 CLOSER ON THE FOOTLOCKER 6 3'

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 versionof

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 theNova, tosses the laundry bag into the back seat and slidesbehind the wheel. The engine roars to life.

His expression is relentlessly purposeful.

DISSOLVE TO

This is the kind of day-- bright, clear, 72degrees, smog free-- that lured millions of people over theyears in their innocence to come and live in SouthernCalifornia.

(SC.65AA)****

AS SHOT 6/11/84* 24

thru OMITTED 6i 'K 69 thru

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 thelots bigger, the landscaping even more lavish. Axel turnssouth again and drives down Rodeo Drive.

After itcrosses Santa Monica, Rodeo is no longer a residentialstreet: it's the heart of the Beverly Hills so-calledgolden triangle. Axel drives down it.

70B A KNOCKOUT 70B *

Californiablonde woman with surgically enhanced breasts anda dog.

70C AXEL 70C *

stares at her, thentromps on his brakes.

70D OMITTED 70D *

70E THE CARTIER 70E *

security guard walksto 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 Flashdancewith the neckline cut off

so the the shirt exposes the shoulder.

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

70H AXEL CAN'T BELIEVE 70H••

the silly clothespeople arewearing on this street. He can see where theybuy them.

70I BALD MANNEQUINS 70I

in boutiquewindows display trendy, trashy and--to Axel's eye-- real.Lydumb .lookingclothing.

70J AT THE BASE OF RODEO 7OJ·•·•

is the landmarkoutside.

Axel pulls into thedriveway of the Beverly Palms ; a Latino kid--his name tagreads MIGUEL--yanks open the door; startlingAxel: there isn't much valet parking in Detroit.

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

AS SHOT 6/5/84* 25

71 CONTINUED:

]*

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

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

25A

_h.SSHOT6/5/84*

71A CONTI)JUED: CLERK

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

Hotel Manager enters

AS SHOT 6/5/84* 25B.

71A CONTINUED: 71.A*

AS SHOT 7/17/8'1

thru OMITTED thru 80 ·BO

BOA EXT. WILSHIRE NEAR RODEO-- DAY BOA *

A couple of WELL DRESSED SHOPPERS and a LADYWITH A DOG 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.

Bl INT. THE HOLLIS COYNEGALLERY -- DAY 81 *

Axel enters and wanders through the gallery, not knowing quite what to make of it. He saunters to a large sculpture of manniquins si.ttingat a table. One of the young salesmen, Serge, glides up to him.

Serge regards that with some suspicion. He calls to his assistant, Donny.

Axel smiles. Then his attention drifts back to the a.bsurdistsculpture. He exchanges confused glances with a statue of a leering butler that is chained to the table.

AS SHOT 7/17/84 *

27..

81 CONTINUED 81 *

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

27A

AS SHOT 7/17/84 *

81 CONTINUED 81 * .

Axel saunters toward the staircase. Jeannette comes down to meet him.

,JEANNETTE Well yeah sure.

27B

AS SHOT 7/17/84 *

81 CONTINUED: 81 *

AS SHOT 7/17/84 *

81 CONTINUED (3): Bl • -

Axel and Jeannette look at each other for a moment.

Jeannette's phone buzzes. She ignores it.

The phone buzzes again. Jeannette finally picks itup.

She hangs up.

\CONTINUED)

A.:i~HOT7/17/84 *

..

8l il:,.

, JEANNETTE • -..

(finding irony inher ahock) Yeah ••,canyou image that. He worked at the gallery'•warehou••• •

'f1waPSO!mBUZZES again. Jeannette an•wer• it.

She b&nga up.

JEANNETTE

Damn! (composes herself) Axel, I'm sorry. I have to go upatai~a for a fewminute&,

.. ,· AXEI, ,.~.._;:

I'll call you later on. We'll g~t together. Can I use your phone·? JEANNETTE Su.re. ,,.,.

Jeannette u:ita. Axelbegin• to look throughher :rolodex.

83 auns.o 13 hil 83A *

AS SHOT 6/29/84 *

30A.

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

Axel starts up the stairs.

He continues up the stairs.

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

Axel continues towards Maitland's office.

Axel exits intoMaitland's office.

AS SHOT 6/29/84 *

-- '

86 *

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

Maitland and Zack exchange looks, Maitland studies Axel for amoment.

'

----··---.

• AS SHOT 6/29/84 *

86 *

Maitland looks at Zack and then Axel. '

Maitland studies Axel for a long moment.

Maitland pushes a button on his desk.

Four security guards enter the room.

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.

AS SHOT 6/29/84 * 3lB.

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 ·damagewith it.

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 Po.licecar bounces up on the sidewalk and the two officers, COPELAND and GRANT, run toward Axel.

Copeland and Grand draw their guns.

Axel puts his hands on the roofof thecar. Officer Grant, who looks.likean Eagle Scout, frisksAxel quickly but thoroughly, removes Axel's gun, then cuffs Axel's hands behind his back.

Copeland isvery formal and polite.

AS SHOT ,,...1.:.:/81 33.

87 CONTINUED: 87 * ••

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

AS SHOT 6/13/8.;

88 OMITTED 88 *

The police car with AXel inside drives up Crescent in front of the imposing Beverly Bills City Ball. The ornate building with its carefully tended lawn and swaying l?alm 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 rightinside the door of the operations room.

AXel looks around at the kind of police departmentGod would buy ifBe had the money.

AS SHOT 7/24/84 * 35.

92 CON'rI!ltlEDi 92 *

,

Hot that there are any luxuries - no Gucci uniforms - it'• just that here in this room is best and the latest police equipment, some that AXel didn't know was invented yet. 'l!heofficer takes his elbow to lead him across tile room.

This isn't anything like the squadroom back in Detroit. There are fourteen detective desks, each has a computer termin.al. Behind a glass partition is the main frame computer. A twenty foot long electronic map of Beverly Billa 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 wery police car, fire truck and ambulance in town. The officer guides A.Xelto a detective's desk; the detective nods to the officer, and he leaves.

SG'r.T.l\GGART,at 45 a senior detective, is unusually short for a cop butviry and compact; he looks very tough.and has a hair-trigger temper. ROSEWOOD, his partner, is young, California blond, six-foot-three, very skinny and awkward in m0'1ement. They come around their desks to stand in front of A::i:el.·Taggarthas~ computer printout in his hand. A::i:el'•gunis on the desk beside him.

'l!AGGAR'l! Wily didn't you identify yourself u a police officer when you were arrested?

Taggart•s face reddens. Be can't remember the last time a pciaoner apolteto him this way, and he doesn't like it.

,..,:

AS SHOT 7/24/84 * 36. ' 92 COHTI!WED i C2l 92*

SGT. Tl\GGART we have six witnesses that say you broke in and started tearing up the place, then jumped out the w:!.ndow.

SGT. T.l\GGAR'I' (enraged) we're more likely to believe an importantlocal businessman than afoul moutbed jerk from out of town.

' SGT. TJ\GGAR'I' (standingup) Youwatch your mouth.

AXEL I aint watchin shit. You watch your mouth. "'"·.•'· '.'•:.

And Taggart punchesAXel inthe gut. AXel doubles over, but ianI treally burt. A voice - sharp but not loud - ;\~i·: bringa Tagga~t and Siddons toattention. ;~ ..~

LT. BOGOMII, co.s.) ~..•·,~i~ Taggart! -..~::-,·.

Yea, Lieutenant.

LT. BOGOMII, Come here.

All the detectives in the roomwear quiet, well-pressed suits, conservative shirts, tiesknotted a.llthe way up, highly polished shoes, their hair isshort and combed at all times. Now we see the manwho sets the exampl• for the11uLIB'OTENANTANDREW BOGOMIL, Chiefof Detectives for the Beverly Bills Police department. Bogomil speaks to Taggart in a low voice, Taggart, pale,walks back Oll'er to AXel. Bogomil follows a step behind.

(CONTINOEI>)

.._..-'-•·...................~·~""·-------·------.;.--•-·--·=-.-....,....,-------··-··---...-...------------·w-..···...................--____•......c,,,....,•.»·e::.................-~····,..·rantrtr.·....iliii_,___z·rii"""'il.•ai'••...di

AS SHOT 7/24/84 * 36A.

92 CONTINUED: (3) 92 *

EVerything up to now, including the punch, has seemed to Axel to be a normal cop-prisoner exchange. This apology, though, is outside Axel's experience.

( CONTINOED)

AS SHOT 7/24/84 *

92 CONTINOED: (4) 92 *

AXEL

·•·•..;...

AS SHOT 7/24;SI · 3 8.

92 CONTINUED: (4) 92 *

LT.scx:;OMIL Is that so? I just got offthe phone with an Inspector Todd, thatname ring a bell?

A.Xelwinces slightly hearing the name.

LT. scx:;OMIL Be tellsme you might notbe very welcome back there. Be says that you're an outstandingyoung detective, which I findhard to believe. Be also saysthat you are a hot dogger anda loner and that he nearly hadto fire you for insubordination. Ifind that very easy to believe. .Nowwhat are you doing inBeverly Bills?

LT.Ecx:;OMIL Be says that ifyou've come out here to investigate theTandino murder, then you shouldn'tbother coming back. Be tellsme that if we inform him that you are investigatingthe· case he'll haveyou brought up on charges and fired.

AS SHOT 7/24/84 *

92 CONTINUED: ( 6) 92 *

LT, BOOOMIL (finishing for him) vacation. you're going to stick to this story'?

Bogomil ignores this comment. ae motionsTaggart over and speaks with him privately as Rosewood leadsAXel across the operations room toward the door.

AS SPOT 6/13/84* 40.

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

They continue walking

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

92A CONTINUED: 92A *

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 I 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.

thru OMITTED thru

As they drive:

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

96A CONTINUED: 96A **•·

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.

Axel and Jeannette enter.

AS SHOT 6/8/84* 41.

97 CONTINUED: 97*

Axel picksup the room service menu and dials the phone.

(CONTINt,"ED)

AS SHOT 6/5/84* 4L'\.thru AS SHOT 6/6/84** AS SHOT 6/8/84*** 97 CONTINUED: 97 *·foe

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

Axel hurries in, and looks around.

AS SHOT 6/6/84*

98B 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.

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

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

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,

The 450 SLC goes 3.crossthe alley anrldown a ways to the Gallery warehouse. Jeannette parks the car and they get out.

AXel and Jeannette walk down a ramp past the loading dock toward a small iron staircase that leads up to thedoor.

Jeannette

uses her key on thedoor. She and A.Xel enter.

104C I:NT.GALLERY WAREHOUSE HALLWAY - NIGHT l04C***

AXel and Jeanette walk downa narrow corridor: at the end of itis a solid steeldoor. A.Xelg_ays his flashlight over it.

5/5/84 46A.thru 48

Jeannette flips the switch on a grey metal and glass box on the wal.l. 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.

thru OMITTED thru

AXel and Jeannette leave the steel door open behind them. The warehouse ispitch 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)**

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.

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 sigat 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. -

110 ANOTHER ANGLE

110**

A dark blue van backs up into the warehouse.

111 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 **

so.

112 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.

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

AJ:elstirs 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.

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

·---·...•.--

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

Axel and Jeannette come out onto the iron staircase just as

ll3C REI/ERSEANGLE -- TE!EIRP<N ll3C ~

The van reaches the top of the ramp and turns right.

ll3D AXEL AND JEANNETTE ll3D *

run up the rlllllptowardtheMercedes.

JEA1'lNETTE What thehell is going on?

They reach the car.

Axel jumps behind the wheel.

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.

llSA tft. a.a. POLICE DEPT, - LT. BOGOMIL'S OFFICE - ?Ueici'rl~ •-?'

Taggart and Roaewood are standing before Bogomil,

LT. BOGOMIL A banana in your tailpipe. How could you not notice a man aticking a banana in your t~ilpipe.

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

?OSTER It's a jungle out there Billy.

115BCOVERED 115B * 115CCOVERED ll5C * 115DCOVERED 115D * 116 OMITTED 116 ·' 116ACOVERED 116A *

--~·____ ......,

AS SHOT 6/ l/84 ~ //.L~(c,

As'Axel and Jeannette drive.

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.

thru OMITTED thru

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 **

Axel turns off the ingnition and opens the door.

Axelambles casually acress the parkincrlot. ,lhilethere's not a vastamount of activity this late at night, the warehouse is stillvery much open for business. Axel watches as

126A THE DARKBLUE VAN 126A **

backsup tothe loadinq dock at the far end of the parking lot.

126B AXEL 126B *

judges hismoment and suddenly breaks to his right, he hops up onthe loading dock platform nearest him.

AS SHOT 5/31/84* 57. AS SHOT 6/7/84 ** l26C INT. AIRPORT CARGO WAREHOUSE NIGHT l26C *

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.

On the other side of the chain link fence Axel ducksbehind a pile of crates and looks around.

128BB A FORKLIFT l28BB*

is parked on the loading dock near thedark blue van; the OPERATORis talking with the two Van Guards as he loads the big crate from the van onto the lift.All three me!!--ingoreAxelas he drives by on the floor polisher.

thru OMITTED thru

Taggart come out of the hotel and walks over toRosewood, 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

l30C AXEL 130C *

standsunloading a man unloading a crate. But turnsto lookat something off camera.

1300 VAN GUARDS 1300*

jumpdown off the laoding dock.

AS SHOT 5/31/84*

l30E A SECURITY GUARD l30E*

roundsthe corner. As he and Axel spot each other.

l30F INT. THE WAREHOUSE-- INTERNATIONAL AREA -- NIGHT l30F *

The NIGHT SUPERVISOR stormsout of his office.

58A, & 59.

AS SHOT 5/31/84* AS SHOT 6/7/84 ** l30F CONTINUED l30F •

Now Wilshire is quiet andthere is little activity in front of the hotel, where Taggart andRosewood are still parked.

Rock music is playing on the carradio which Rosewood enjoys but Taggart hates. SuddenlyTaggart hits a button

and the music shifts to classical.

AS SHOT 6/1/84* 59A.

Axel stands in the center of the big main office with the night supervisor, whis is doing .1\.xel'sworkforhim.

CLERK ~l What's this all about?

The clerks are all shocked.

CLERK ~l (awiseguy) You got somekind of warrant for this?

The supervisor and the clerks are thouroughly intinated.

NIGHT SU'?ERVISOR Now don't get upset, Inspector,we'll get you everything you need, right guys?

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

132 CONTINUED 132 *

GUARD ~2 Anything you need.

CLERK #1 That's not mv Porsche, no sir, Idon't know who's It is.

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

AS SHOT 6/7/84*

thru OMITTED thru

A cabpulls up behind Taggart and Rosewood's unmarked car. Axelgets out, pays the driver, then walks up to the unmarkedcar.

Taggartand Rosewood don't see Axel until he yanks open the backdoor and hops in the car, scaring the crap out of thetwo cops.

Axel expects thatby now they will have seen the humor in his bananagag, but the Beverly Hills cops don't smile.

Now it's not so funnyto Axel, either.

AS SHOT 6/7/84* 62.

l54A CONTINUED: 154A

Okay fuck itlj.XEL Well, I'm gonna go get a couple of drinks. You guys can try and tail me if you like, but you know itwon'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.

AS SHOT 5/29-30/84 * 6 3.

Axel, Taggart and Rosewood are sitting at a table right by the strupper'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. I he can t ta·kehis eyes off the STRI?P:S?..'!'hestri?;;er snaps the back of Taggart's head with a feather boa. He does his best to ignore it, A waitress approaches.

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. Rosewpod's tooshy.

Rosewoodstuffs the bill in; Taggart turns around to see what hispartner is doing practically puts his nose in the stripper'scrotch. He turns back, blushing all theway tohis bald spot.

AS SHOT 5/29-30/84 *

154B CONTINUED 154B*

Two men in long leather coats enterthe strip joint. They exchange a glance, then, pretendingnot to know each other the FIRST LEATHER COAT walks tothe bar and orders a drink, while the OTHER moves to thefar end of the room. They both look around furtively,checking out the joint. On1y Axel notices this.

The waitress brings Axel, Taggartand Rosewood their drinks. The stripper who has beenpulling her .feather boa between her legs begins to seductivelywrap it around Rosewood's head.

Taggart does so and turns back to Axel.

AS SHOT 5/29-30/84 *

154B CONTINUED (2) 154B*

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

Axel and Taggart ignorehim.

Taggart is torn bet,.eengoodpolice instincts and·a suspicion of Axel.

Taggart decides to take thechance and gets up.

Taggart heads towards the SecondLeather Coat. Axel picks up his drink and begins tostagger toward the First Leather Coat. Axel feignsdrunkeness.

AS SHOT 5/29-30/84* 65A.& 65B.

154B CONTINUED ( 3) l54B*

Rosewood watches with confusion.The First Leather Coast pushes Axel to the ground and then ripsthe arm of the D.J. 's turntable. The place goes silentand both Leather Coats pull out sawed-off shotguns.

There is panic in the bar until everyonesettles down. Axel gets up and still deigningdrunkeness staggers toward First Leather Coat.

Axel, now within striking range, disables FirstLeather 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 g.inon the First Leather Coat, who .isnow lying on his back.

The CROWDAPPLAUDS. The Stripper plants a big kisson Rosewood's cheek. Axel gooses the Stripper. The Stripper slaps Rosewood.

AS SHOT 7/25/84 * 65C,

Axel, Taggart and Rosewood arrive.

Before you chastise these officers I~want you to know something- the only reason they were at a strip bar i;;because they were tailing me. They ':,'.pprehendedthesubject. I frea.Kedout, these guys are super cops. The only thing missing are capes.

AS SHOT 7/25/84 * 6S0.

I,.;!'

..CONTI>IUlW 154H * ' l54H '· ,..~

BOGO!':IL Axel Foleywe appreciate your assistance.But in the future if youwant to practice law enfor.cementI prefer you do it bac]s.inDetroit.

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

AXel exits. Bogomil stand at hie door and calls to Feater and McCiwe. : ·'/

McCabe •mirkingly winks to Taggart and Rosewood, who feel ,_ lilt•ahit. '

1541 OMITTED' ' 154I

...... ..-...,_____.-- ,...r+t•,·a··:«ittr1

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

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

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

A group ofwell-dressed SHOPPERS stop and stare as our room service waiters takea tray out to Foster and McCabe.

McCABE What?There he is.

Miguel pulls up inAxel's Nova. Axel hops behind the wheel. Foster andMcCabe follow.

Axel turns on Sunset,nearly getting tangled up with four stretch limos floatingtoward the Beverly Hills Hotel. Axel turns right--headingnorth-- a block or so past the hotel. Foster and McCabe follow.

AS SHOT 6/14/84* 67

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.

163 AXEL'S POV 163*

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

McCABE (cocky) We're the first team.

McCABE What areyou doing up there?

AS SHOT 6/14&15/84*

-.. 165 EXT,MAITLAND ESTATE -- AXEL'S POV 165 *

From uphere Axel can see the magnificent grounds leading up to themansion, 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 theNova and, among piles of junk, ther~•s a coolerwith a six-pack and some sandwiches.

McCABE For a manwho claims tobe 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.

5/9/84 69.

165 CONTINOED: 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 theway; 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 againwithout success. of course, AXel is faking this car trouble: he waits until the light just goes from amber to red and ZOOMS ACROSSthe intersection. The intersection fills with cars before ,the two stunned cops can react. They hit their HORNthen blast their SIREN to get across against the traffic, but when they do AXel's Nova is nowhere in sight.

AS SHOT 7/2/84 *

l66B EXT. BEV'ERLYBILLS STREETS DAY l66B

Meanwhile theNova has caught.up to the Mercedes. Mercedes turns left thenleft again into a private drive marked "The sportsman's Club.•

The Mercedes iswaved 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 thatwee_,!t.

Members only, buddy, drive that piece of shit out of here.

The guard can't open the gate fast enough.

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

\\ (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.

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.

AS SHOT 7/2/84* 7/3/84** 72

169 MAITLAND 169*

I have nothing to say to you.

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

AXEL ** I know you're into a lot ofvile shit and I also got a pretty good idea that you had Mi.key killed. And when I prove that, I'm gonna fuck you up real bad.

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

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

AS SHOT 7/25/84 * 73.

169 REVISED 169

thru OMITTED thru

Axel sits in front of Bogomil. Foster and McCabe, looking sheepiah, and Taggart and Rosewood, gloating, stand around the slll4llroom.

AS SHOT 7/25/84 * 74.

l86A CONTINUED: (2} 186A *

AS SHOT 7/25/84 *

75,

186A CONTINUED: (3) 186A *

AS SHOT 7/25/84 * 76.

186A CONTINUED1 (4) 186A *

LT, BOGOMIL (Cont'd) (to Taggart) Taggart,startcheckingthisout.Start wit."ltheL.A.P.D.,theFBIandtheCustc:rn.s 5el;Vi.ce.

LT, BCGOMIL Really? rs that your experience?

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

•LT. BOOOMIL Yes, sir.

LT, BOOOMIL Yes, sir.

AS SHOT 7/25/84 *

186A mn'INUED: (5)

LT. ECGCMIL l86A * Yes,sir.

Q!IEFHUBBARD (toAXEL) I ' lljustl::etyou' retheprideof yourdepartrrent backinDetroit. (toBogcrnilT· CouldI seeyouin y::,uroffice for a moment.

Bogomil hurries out. Axel looks at the three other Beverly Bills cops.

Bogomil walks back into the office.

LT, BCGOMIL Whatis it?

AS SHOT 7/25/84 *

186A CpNTINUED ( 6) l86A *

I don'tunderstand you guys.

thru OMITTED thru

l90A EXT. HOLLIS BENTON GALLERY --DAY l90A

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 conceals her nervousness well.

Maitland quietly studies her for a moment.

AS SHOT 7/16/84 * 80.

190B CONTINUED (2) 190B *

Maitland nods expectantly.

Maitland waits formore information.

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

Maitland's eyes search her face.

--- ------~---

AS SHOT 7/16/84 * BOA.

190B CONTINUED (3) 190B *

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

191 ALREADY SHOT 191

192 ALREADY SHOT 192

(PAGES 81-86 ARE OMITTED)

AS S~OT 7/18/84 *

81 thru 87.

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

Axel and Rosewood.

thru OMITTED thru

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 and Rosewood exchange glances.

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

197 CONTINUED: 197**

JEAW:<ETTE How bout I go with you?

AXEL

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

Jeannette gets her keys.

l98A EXT. GALLERYWAREHOUSE -- DAY l98A*

Rosewood's car pulls up opposite the warehouse.

l98B INT. ROSEWOOD'SCAR -- DAY l98B*

CONTiNUED 198B ~ 198B

- - AXEL But nothing. Just sit tight. And don't do anything until I come out and get you, you understand? (to Jeannettel Are you sure you just won't give me the key and wait here?

Axel sighs.

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

•• '

Axel and Jeannette head through the maze of corridors. They come to the security door. Jeannette punches up the combination.

JEANl,ETTE That's very sweet of you.I'm glad you feel safer-·But I'm not going to do it.

Axel and Jeannette head in through the security door. -====--=- ...- ·-· --------------

'. ~-- ~-

AS SHO'l .,10/'34

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

201A ANGLEON THE CRATE 201A *

Axel takes off,the lid. Underneath is a layerof 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.

AXEL

There's coffee on the top.

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 powde~ 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 theirguns drawn onAxel and Jeannette.

,. CONTINUED;

AS SHOT 7/lCJ/8',

91. er91A.

202 CONTINUED: 202 *

thru OMITTED thru

204A C0NSIDERED COVERED 204A *

204B CONSIDEREDCOVERED 204]:j*

204C CONSIDEREDCOVERED 204C *

Maitland leads his entourage down the twisting hallway leading to thewarehouse's inner steel door;

Even Casey gets a little nervouswhen Maitland comes in. He levels his pistol at Axel.

MAI'I!LAND Seems we have guests.

Maitland walks over to AXel and Jeannette. He looks back ~nd forth from one to the other. He keeps his voice and manner quiet and calm, but anger radiates from him like heat waves irithe desert.

Maitland studies Jeannette for a moment.

I CONTINPED:

...._ ·-.··- ,0-'"•'""''"-,,o••---••_,,....,,_,-,;,,_.~,•~•""-""'-~-!"!-~-

AS SHOT 7/10/84 *

204E CONTINUED: 204E•

Maitland eyes Axel curiously.

The guard escorts Jeannette out.

204EE eONSIDERED COVE~~D 204EE *

204F CONSIDERED COVERED 204F *

thru OMITTED

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:

209A CONSIDEREDCOVERED 209A* 209B CONSIDEREDCOVERED 209B*

AS SHOT 7/11/84 * 93A

;:10 INT. GALLERY WAREHOUSE -- DAY 210 *

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

~S SHOT 7/10/84 * 94. ~9s.

210 CONTINUED: 210 * PARTIALLY COVERED ON ORIGINAL PAGES

211 PARTIALLY COVERED ON ORIGINAL PAGES 211 *

Caseydraws his pistol from his shoulder holster and starts firing at Rosewood.

Rosewood downs caseywith one shot.

• '

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

Axel and Rosewood run down the corridor.

- EXT. GALLERY WAREHOUSE -- DAY 213B ** 213B

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

thru OMITTED thru

Rosewood is on the radio.

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

SGT. Tl\GGART What do you mean you can't talk now? Where are you?

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

SGT. Tl\GGART What the hell are you doing? Billy? Answer me, Goddamn it!

(CONTINGED)

AS SHOT 7/26/84 * 96.A.

2.&l :Z..&l•*

roater and McCabe, who have bean watching thia froa their dear.a,com• up.

Taggart punches th• desk.

Taggart turna away to go, then turttsback to the diapatcher.

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

2,1 C0!1TIWEDi (2) 2,1 **·

Th• dispatcher l:l.a.ndsTaggartaslipof paperI Taggart l:l.a.nda it to roster.

Taggart runsfor the dooc.

2,3 EXT. PALM CANYON ROAD - DAY 2,3 *

Rosewood's car is parked at the curb in front of the huge £h1 hed9a bordering the Maitland est~ AXel and Roa.wood ue looking at the lllAingates.·'", -'

AXel andRos-ood arrive up alongside the h•d.9• until they reach a amaller aide gate to the utate.

Ro•-ood hands AXel the 9mm Browning AXel brought from Detroit, together vith A.Xel'•spare clips. Axel llbovu the gun in hi•waistband and the clips in his pocket.

UlU. Come on. (pointing to the gate)

AZel takes out a pair of thin lockpicks from.hia wallet.

AS SHOT 6/27/84 *

thru OMITTED thru

we PULL OP 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 Ol?STAIRSBALCONY AREA.

Jeannette is sittingon the sofa. Maitland's aide

zack is with him.

Maitland gets up and walks over to her.

Maitland LASEIESCOT with the most vicious open banded slap ever seen. Jeannette topples off the couch, unconscious. Maitland pokes her lightly with bis toe.

thru OMI'l:TED thru

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.

- --------

AS SHOT 6/15/84 * lOO.

;

254 CONTINUED: 2 54"

The lock clicks op~n.

But Axel goes in. Rosewoodmoves to follow.

It'saga~nst his every instinct,but Taggart just can't let hJ.syoung partner go italone •

• SGT. TAGGART Shit. Wait a minute.

Taggart opeps the trunk of his car and comes back with his riot shotgun. He followsAxel and Rosewood through the gate.

thru OMITTED thru

AS SHOT 7/20/84 * 101.

'!'WOofMaitland's men, uniformed asGUARDS, sit at a console filled with security systems, T'vmonitors, and electronic diagrams of the estate. There's a red light blinking on one of these.

SECORITY GOARD tl (to phone)

Be bangs up the phone and starts working on the T'v monitors.

SECORITY GOARD tl

(PAGES102-110 OMITTED)

)

AS SHOT 6/19/84 * 102thru lll,

A.Xel, Rosewood and Taggart are creeping up toward the pool, Taggart starts forward1 Axel holds him back, pointing to a lillllallTVcameraaweepingback and forth,

Rosewood sprints t:?:lwardthecamera.

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

Axel approaches a guard at poolside and starts to hit himwhen another guard hitsAxel andAxel downs both of them.

Biit thenA:&el slams into the giiardfrom behind, knocking him oiit.

Taggart and Rosewood help A.Xelbundle the unconscioiisgiiard into one of the little dressing rooms off the poolhoiise.

)

5/12/84 112.

..*

suddenly one of the TV monitors shows AXel Rosewood and Taggart are in shadow.

GUARD tl Freeze that, (tothe phone) You better get the boss down here.

Taggart goes to the right, while

270C AXEL AND ROSEWOOD 270C

go around to the left.

thru OMITTED thru

Lt. Bogomil comes out of his office and looks around.

LT. BOOOMIL

\._ where is everybody? Is Rosewood

back? OWnby, have you seen Taggart?

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.

Bogomil is pacing nervously behind the dispatchers' console, watching the status board which shows the locations of all the emergency vehicles inBeverly Hills.

5/12/84 113.

DISPATCHER tl (toradio) DD 13, come in please. DD 9, come in please.

277 ANGLEON BOOOMIL 277

Be'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.

thru OMITTED thru

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

5/12/84 114.

GOON fl There they are!

Be opens fire,

279B A ROW OFBULLETS 279B

splinter into the railing and smash the flower pots in front of Axel and Rosewood. Rosewood does as he's been ·• trained. Be 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.

You open your mouth like that again and I'll shoot you myself.

Now Taggart has come up against awall1 he's trying to haul himself up when a line of bullets nearly graze his fingers. Be drops back down.

279D ANGLEON AXELANDROSEWOOD 279D **

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.

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 swiches 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.

thru OMITTED thru

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

The MDTBOOterminal BEEPS loudly, the screen is wiped clean and replaced by the following message:

10-13 ASSIST OFFICER LOC 1901 PALM CANYON RD. BB/LOS GATOS SHOTSFIRED CAUTIONPLAINCLOTHES OFFICERS ON SCENE

The second status button on the MDT800 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 cart 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.

5/14/84 118.

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 alrea<fyhere.

The two guards from the security monitor room are now on the grounds searching for the intruders. The SOUNDof

nearby police SIRENS has shaken them up.

SECURITYGUARD tl You want to stick around?

They run toward the garage area.

thru 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. Be hears a noise behind him and spins around: it's Taggart, retreating from the other direction.

5/13/84 119.

It's very quiet here in contrast to the bedlam outside. A.Xelkicks open a door, but the room's empty. He walks on * down the ball, but then spins around as be bears

303A A DOBERMAN GOARD DOG 303A

growling. A.Xeland the dog look at each other for a moment, then the dog charges and Axel sprints into the empty bedroom be' d j11stkicked in the door of.

303B AXEL SPRINTS ACROSS 303B **

the bedroom and just beats the dog into the bathroom~ A.Xel slams the door and takes a deep breath of relief which lasts only and instant because

303C THE DOGCHARGES IN 303C *'*

through a connecting bathroom door that A.Xeldidn't see behind him.

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

Taggart and Rosewood are still pinned down by Maitland's goons. They can bear many sirens, but no reinforcements have arrived. Rosewood is reloading bis 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 A.Xel's foot~ A.Xelslams the shower door shut and hops down on the outside, leaving the dog harmlessly locked inside the shower.

5/14/84 119A.

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.

304D MAITLAND 304D *·•

stands laughing across the room. He waits before firing again, enjoying AXel's pain. But AXel jumps out of the way, into an alcove.

304E AXEL'S GUN HAND 304E **

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

304F MAITLAND 304F **

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

304G 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.

304H MAITLAND 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.

5/14/84 119B.

306A 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

306B MA.ITLAND 306B

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

5/14/84 120.

thru 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 iti a great plume of water shoots up.

309A THE POLICE CARS 309A **

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.

a:ehops out of the car and 1 eadsthem, sprinting, for the

house.

AXel iswalking up the stairway, hugging close to the wallt his shoulder wound leaves a smear of blood on the white paint. Alerted by a noise he drops downi a spray of bullets slam into the wall over his head.

309E ZACK 309E

is on toe balcony opposite, holding an automatic weapon.

309F AXEL 309F

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

309G ZACK 309G

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

5/14/84 120A.

Taggart and Rosewood are now joined by shotgun bearing uniformed OFFICERS. TWo of Maitland's thugs are wounded; the others look around, reacy 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 * l2l.

3ll 3ll thru OMITTED thru

3l3A INT. THE MAITLAND MANSION - 'UPSTAIRS HALLWAY - DAY 3l3A *

AXel's hal:fi.'aydownthehall, about to kick in another bedroom door, he suddenly spins around as he hears JeaMette shout a warning behind him. Maitland fires, but AXel drops to the floor, Maitland's shot misses. AXel can't fire 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. ae has a ~unto her head.

3l3B AXEL 3l3B *

is on the floor hal:fi.'aydownthe hallway: he is trying to line up a shot with his left hand but the chance of hitting JeaMette is much too great. Suddenly

3l3C l!'ROMBERINDAXEL 313C *

Bogomil shouts:

Bogomil, with is at the other end of the hall1 AXel is between them and Maitland and AXel can't tell

if Bogomil's command was meant for him or Maitland.

3l3D MAITLAND HOLDS JEANNETTE 3l3D *

wen more tightly

Maitland is at the staircase now, in a second he'll be out

of the line of fire. But Maitland cannot resist bringing his..gunaway from her head to take a shot at AXel. This gives JeaMette a chance to jam. her elbow into Maitland's stomach and break free.

- --------------·-------..--------

AS SHOT 6/26/84 * 122.

3l3E ANGLE DCMN THE HALLWAY 3l3E *

Axel and, beyond llim,Bogomil both fire.

✓

3l3F MAITLAND 3l3F *

littwice, staggers backward. He fires and the bullet tears a chunk out of the wall in front of A.Xel'sface. 'I'lien

313G ANGLE ON 'mE SPIRAL STAIRCASE 313G *

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

313H IN 'mE HALLWAY 313H *

Bogomil has come down the hall to stand beside A.Xel;they exchange alook: Bogomil's expression is unreadable.

,-

\

AS SHOT 6/21/84 *

123,

thru OMITTED thru

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 PARAMEDICAMBULANCES 329

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

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 h~ turns to Jeannette.

Axel starta to lookunder the ice bag. She stops .nim.

12.1A,

AS SHOT 6/21/84 *

329B CONTINUED 329B *

,iEANETTE Well, you should.

He starts touncover his wound. He sees.

329C CHIEF'S HUBBARD'S CAg. 329C*

Pull in.

Hubbard walks towardthe house past the steaming radiators of his poli_,;;ecarsandpast the smashed fountain still spouting water. !!ubbardlooks like the wrath of God. Hubbard is so angry at so many things, he hardly knows where tobegin. But them suddenlyhe barks out:

330 ANOTHERANGLE 33 0"

Rosewood starts to stammer.

;- ROSEWOOD Ah, well, he •s in custody, sir.

AS SHOT 6/21/84 •

330 CONTINUED 330 *

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.

AS SHOT 6/21/84 * 125.

330 CONTINUED (2) 330 *

Hubbard's eyes now land on a confused Taggart.

LT. BOGOM.!L (continuing) Believing that Miss Summe+s was indanger 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 attempt:edto kill the officers by firing on them. The officers returned Eire and in the course of .lawfully defending themselves the officers shot several suspects, including Mr. Maitland.

Hubbard·•looksat Bogomi.l.Bogomil's eyes hold Cnief Hubbard's for a long moment. Chief Hubba.rd'sexpression isn't readable. He turns to Taggart.

Rosewood's eyes widen with nervous anticipation.

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

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

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.

Bogomi.lwalks away, after a moment Axel follows.

Axel walks back to Jeannette and smiles.

AS SHOT 7/5/84 * 7/6/84 ** 126.A- -----

CONSIDEREDCOVERED 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.

The clerk returns with the bill.

\

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

331 CONTINUED: 331 * **

No.

Taggart nods.

Axel hands Rosewood a robe.

ROSEWOOD

Rosewood goes to pay the bill.R'wood starts toward the door. Axel follows him.

.. that.

Taggart nods. Axel hands him the other robe.

AS SHOT 7/5/84 * 7/6/84 ** 128.- l2BA.

331 CONTINUED (2): 331* **

Taggart takes the robe.

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.

TAG~ART Let me ask you something about this precinct of yours in Detroit. Are all the cops like you?

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

~--,

Axel gets in the car.

AXEL

me to the city limits, aren't you?

\

·-~-----~·

7/6/84** .l.29,

1'5SHOT 7 /5/84* -~ .

332 CONTINUED: 332 *

Taggart looks to Rcsewood and smiles.

T~ggart and Rcsewood get in their car. Axel sticks his head out of his car window.

As they drive off•••

\

_,__,,__,___,--·

·-·-~-'•~·-..--.-