"POLICE ACADEMY" (1984)

I

"POLICE ACADEHY"

Screenplay by

I

Neal Israel & Pet Proft

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i August l, 1982

•

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I

FADE IN:

Stalking dow-nthe darkened hallway isa unifor;nedsecurity guard. This is EUGENETACKLEBERRY. There's something about him that tells us he's an intense, borderlinewhacko. One good hint is his eyes. They dart aboutmanically behind thick-lensed glasses, ever on the alert fortrouble.

He checks the row of doors, making sure theyare locked. He ca.refullyapproaches each doorknob as ifit could blow up in his face. A dignified-looking MANin a business suit taps him on the shoulder. Startled, Tackleberryreels around and reaches for his gun, but stops short ofgetting it out of his holster.

HR. DOUGL\S Good night, Tackleberry.

Hr. Douglas gets into an elevator and presses his floor.

The doors start to close.

The'doors slam shut. Tackleberry goes back dow-nthe hall. He findsa door that isn't locked. He hears a NOISE inside thedarkened room. He flattens against the wall and takes his gun out of his holster. He fills with excitement. He waits a beat, then kicks in the door. His eyes glaze over ashe gleefully unloads his gun into the dark office. He waits abeat for any signs of life, then he snaps on the lightsand surveys the scene, a bit puzzled.

DlT. OFFICE -NIGHT

The room isriddled with bullets. Across the back wall is a banner thatreads: "Good Luck Tackleberry!" The frightened well-wisherspeer out from their hiding places.. A three- tiered cakehas takenseveral direct hits; the water cooler is leaking onto thefloor. A 1-LA.Npeersoutfrom behind the safety of a filingcabinet.

HP.~N (tiraidlv)

I Surprise.

Working in a drive-upFotomat is LESLIE BARBARA,every bully's

even when he's not atthe beach. His short,plump little body is seated inside theFotomat booth giving changeto a customer.

The customer drives offand a car full of TOUGHSdrives up. They hop out of their carand surround the booth.

At this point the four Bulliestug on all four cornersof the Fotomat booth. Using totalbrute strength, they yankthe booth off ics foundation. Barbarais in a state of shockas they carry it to a nearby lagoonat the edge of the parkinglot. From a distance they look likefour footmen in amedieval pro- ce.ssioncarrying a protestingprince in a sedan chair.

The Bullies give the booth theold heave-ho and toss itin the water. They jump in their carand drive off. PUSH IN TO Barbarain the booth. It ishalf-submerged in thewater.

Burstingouc of the back door isDOUGFACKLERand hiswIFE, who is dressed in her robe and slippers.

j (CONTINUED) I

This is a couplewho would feelcomfortable living in Van Nuys, A fun time for them isbowling and a beer At the moment they aren't having any fun,,They are in the midst of one of their most explosive arguments,

He reaches for the car door.

MRS, FACKLER (warning him) If you open that car door, you're in big trouble.

He opens the car door.

MRS, FACKLER (continuing) If you get into that car, you're dead.

He gets into the car.

I

He defiantly backs the carout of the driveway.

He puts the car in drive andheads off dow-rithestreet. Mrs. Fackler swings into immediateaction. She runs into the backyard and vaults over the fence. She runs through he::-neighbor'sbackyard. She leapsover t',mpeoplewho are sunning themselves, and jumps over the fence. She ·:unsto a corner bus stop. She hops up on thebench and leaps with a high arch onto the hood of Fackler's car.

Mrs. Fackler is looking right at Fackler through thefront windshield.

EXT°.PARKING LOT - DAY

A car pulls into the lot. The attendant, CAREYMAHONEY, gives the DRIVER a ticket. He turns on a sign which reads: "LOT FULL." At that instant, a slick MR..MARINA DEL REY-type pulls up in his Jaguar c.oupe. He immediately leans onhis HORN for service. Mahoney does not like this man's attitude, or anybody else who comes on like their excrement has no scent. He's crazy about a good time, practical jokes and any other degeneracy that strikes his fancy. He's the kind of guy who would have "Stayin' Alive" sung at his funeral.

K<IBONEY The lot's full.

Mr. Marina isn't buying this at all.

MR. M.!uUNA Don't give me that crap... Park the car.

(

I

K"-HONEY There's no place toput thecar.

MR, K".RINA Find a place!

MR.!'f.ARINA Listen, dickhead,..

The ramp HAi"lAGERenters.

M.i\.i\lAGER What's going on?

MR.!'!.JI.RINA (indicatingMahoney) Ass wipe herewon't park my car.

M.i\.i\lAGER (he has nopatience with Mahoney) Mahoney, find a place for the car.

He gets into the car and peels out at topspeed. He makes a screechingly sharp turn so that the car listsdangerously to the right, balanced on t",rnwheels. He thenmanages to squeeze the car into a very small spacebetween t"woparked cars. The Jaguar comes to rest on its side. Mahoney crawls out of the passenger side window,which is facingthe sky.

Mr. Marina and the Manager are stunned, lfahoney ta.kesoff his valet jacket and hands it to theManager.

M.i\_HONEY

{ I quit. Now, about a letter of

reference....

(CONTI::-lUED)

f

l-L-\J.\JAGER Mahoney, you've had it.

He tu=s and starts to walk away. Just then another car pulls up. The DRIVER starts blowing his HORNimpatiently.

Okay. No problem. Just pull into thatnext driveway.

The Driverbacks uo and drives into the next driveway. Un- fortunately it'san exitonly. All four of his tires are punctured by the tirespikes.

EXT'.PARKING R.Al1P-LATER

OFFICER REED is leadingMahoney tohis squad car. Reed is a seasoned veteran who's seenit all. Gathered arouna is the lot Manager, Mr. Marina and theDriver with the punc- tured tires.

Reed currs Ma.honey'shands behindhis back and opens his squad car door.

He guides Mahoney into the ca.rand shuts the door.

Reed is driving and M.ahoneyis in theback seat ..

- REED When the hell you gonna straighten out, Mahoney?

I:NT.POLICE STATION - DAY

Reed is leading Mahoney past the BOOKINGSERGE.l.NT.

As they pass b7 other policemen in the station,thev all greet and call our:to Mahoney by name. Reed is leading e!ahoneyout of the room.

Ii'lT.HALLIN POLICE STATION

Reed lea.dsMahoney to a door marked: "PoliceRecruiter. l

I

(

MAHONEY

You're serious, aren t you? (pouring on

( the bullshit) ' Well, this was obviously fated,

Ever since my father, who wasa Canadian Mountie, was killedby a crazed Malamut wrangler, I vowed I'd avenge his death,

(

Reed opens the door. Mahoney givesUS a lookthat tells us he isn't looking forward to this at all.

MAIN TITLES BEGIN. We are LOOKING DOWNON an area of great urban decay. As we PUSH IN TO the center of thissqualor, we ~~.KEOUT the Police Academy. The Academy ismade up of several buildings which are reminiscent of an ivory-covered eastern university. We SETTLE IN ON a sign over anarchway entra.nce. It reads: "POLICE ACADEMY."

~ffiD.SHOT- PAR.ZINGLOT - DAY

A bus pulls up to the curb. TOM F-~RRIS,a cadet class in- structor, races over to it. Harris is a muscle-bound ani- mal who, like most beasts, never speaks -- he roars. As soon as the bus has stoDoed, he oounds his fist on the side of it~ .... ..

END TITLES.

The frightened cadets come scrambling out of the bus. Most are young and in pre.ttygood shape. The men wear conserva- tivesuits; the women, business attire. All have name tags.

Suddenlya short, squatty, rotund black woman, LAVERNE HOOKS, waddles out. Harris can't believe her physical condition.

Hooks is scared todeath.

When shetalks, every part of herbody moves, making her look like aMotow-nbackup singer.

She comesout of the bus and hustlespast him, taking a quick bite of aSnickers bar which she has concealedin her hand. ~ehind heris Tackleberry. He looks aroundexpectantly, ready fci·action. '.

A pickup truckpulls into the parking lot.

Behind thewheel is BRIAN COPELAND. He looks like a little weasel because he isa little weasel. He's a southernbigot who's all talk and noaction. Sitting next to him ishis friend and idol, CHADBLANKES. He's an ass-kissing back-stabberwith all the charm of a Hitleryouth. He's clean-cut and athleticlike he just st~pped off abaseball card. Through thewindshield he sees an older, uniformedOFFICER pass by on the sidewalk.

Copeland slamson the brakes.

Blankes goes racingover to the older cop. This is the Academy commandant, CaptainLassard. He's a stuffy,play-it-by-the- book career officerwho hasn't had an origina.lthoughtin over a quarter of a century.

BL.",,NKES CaptainLassard ...I'm Chad Blankes. (MORE)

lL

Thank you. That means a lac to me, sir.

He salutes him and turns back to the truck.

COPEL.tu'lD Did you mention me?

BLAflKES A lot... Park the truck.

CURB OF PARKING LOT

Copeland pulls up and opens the door. It is immediately hit by another car door.

COPELo\ND You asshole... I'm gonna jam my fist down your --

He stops and looks up and suddenly his attitude changes.

REVERSE ANGLE

Stepping out of the car that hit him is MOSES HIGHTOWER. Noses isa sullen,uptight black man. He doesn't speak much. He lets his six-foot-six muscular frame do his talking for him. He glares angrily at Copeland.

TWO SHOT - COPELAND AND HIGHTOWER

COPEU.1\JD No problem. Y'all have a nice day, now, ya hear?

Hightower closes his door and walks away.

Suddenly Fackler's car screeches into the lot, withMrs. F. still perched on the roof. He gets out, slams the door and walks away.

/MRS. FACKLER (calling after him) You'll be sorry, mister. This is war!

In the middle of the camous is a concrete quadrangular area called the grinder.· Cadets are nervously milling a.boutas Harris crosses over to another uniformed OFFICER whose back is to US.

She turns around and we SEE our other instructor, JEANETTE CALLAHAN. She looks like a dyke, more than a little. Her hair is done in a slicked-dow-nducktail. This is a tough, no nonsense man/woman who looks like Wayne Newton, right dow-nto the thin mustache that covers her upper lip.

All the cadets scramble into a rag-tag line-up of two col- umns. CA.'1ERAPANS thegroup. A very pretty blonde, KAREN THOMPSON,stands near the front. The cadet next to her is busy checking out her shapely posterior. Callahan approaches him.

f

Callahan walks behind them and-she too quickly checks out Thompson's ass.

~!S.CALLAHA."l (continuing; to herself) Oh, yes...

ANOTHER ANGLE - GRINDER - DAY

Mahoney pulls up in a cab. He climbs out wearing rubber thongs, a torn pair of shorts and a sweatshirt. He pulls a bill from his pocket. He spots Callahan standing nearby.

Mahoney tosses the cabbie the t-wentyand the cab drives off. Callahan and Harris cross to Mahoney. They can't belie,re the way he's dressed.

WAIST SHOT - MAHONEY

We can SEE his shirt has printed on it: "A BUN IN THE OVEN" with an arrow pointing to his stomach.

LI\RRIS You were told to wear a suit and tie.

CALL.llilu~ANDHARRIS I close in onMahoney.

MS .CALLAH.;N We got you pegged, mister.

H.I\RRIS I'm a sir.

As Harris and Callahan get onhis casefor this, Mahoney's attention drifts past them -- RACKFOCUS. An older conver- tible pulls in and parks. It is filledwith six pretty girls and RAOULCASTRO. Castro is a street-wiseLatin lover of Cuban descent. He's intonipples and parties and whatever else constitutes a good time. He speaks with a slight accent. He hops out of the car.

They all wave and scream approval as they driveoff.

ANGLE - HARRIS AND MP-..HONEY

Mahoney joins Castro as they both walk toward the grinder.

Very nice-looking ladies.

Mahoney knows a good thingwhen he sees it. He puts his arm around Castro's shoulder.

Hey, let'sbe pals.

They walk into line and stand next toThompson. They smile at her warmly. She pays no attention to them,fixing her gaze straight ahead.

She looks at him strangely out of the corner ofher eye. Blankes, who is standing right behind him with Copeland, leans in.

BLI\NKES (to Hahoney) You're a disgrace...

COPEL,1_ND Yeah.

'M.AHONEY Hey, fellas, lighten up. (to Castro) Isn't this terrific,.. C-,.;o assholes, no waiting.

ANGLE - LASSARD

He stands in front of his new troops.

There is thesomrn of a DOG BARRTNG O.S. All eyes turn to- ward the disturbance.

16..

PARKING LOT

Our wimp, Leslie Barbara, is followed by his poodle as he hops out of the family station wagon. His mother waves to him.

BARBAR.I\ Get back in the car, Taffy.

The poodle takes off, making a bee-line for Lassard and immediately begins humping his leg. Horrified, Barbara chases after it.

ANGLE - LASSARD

He is continuing his speech and trying to shake the poodle offhis leg without success.

Harrisreaches for the clinging animal, but it's not going to let go withouta fight. Barbara tries to help him, but the dogkeeps humping away.

ANGLE - CADETS

Tney're tryinghard not to laugh.

ANGLE - CASTROAND MAHONEY

HARRIS

He gives a big tug and thedog lands on his ar:n,which it i=ediately falls in lovewith.

(

ANGLE - CALLAHANAND THE CADETS

As the cadetswalk away,we can still SEE in the b.g. the struggle to get rid of thedog, which is now amorously attached to the back ofHarris' neck.

Harris leads the way down thehall, giving out room assign- ments. Following him areMahoney, Castro,Fackler and Tackleberry.

A cadet comes toward themwalking in theopposite direction, carrying a mattress.

H..\RRIS Stand clear.

Everyone stands to the side. Unfortunately,Fackler doesn't see behind him is an open door. He fallsinto the doorway .. We HV.R a CRASH.. And then the SOUNDof aBODYFALLING down a long flight of stairs. After a beat, thegroup looks out the window.

GROUP'S POV - OUT WINDOW

Fac)<lercomes rolling out of the building onto the lawn..

MEDIUM SHOT - THE GROUP

H.<\.RRIS (calling dow--ri to Fackler) Fackler, take it easy. You're running out of second chances.

ANGLETHROUGH WINDOW - FACKLER

He gets up and brushes himself off as if nothing happened.

KARRIS AND THE GROUP

He leads the rest of them to thenext door,rny.

Mahoney and Tackleberry enter the :.:-oom.Itis adrab and colorless place.

TI:lEH..1,LLWAY

Harris shows Castro to the room next door as Fackler comes racing down the hall to join them.

Castro and Fackler start to enter their room.

ANOTHER ANGLE - HALLWAY

Blankes and Cooeland are standing at attention in front of theirdoor as Harris passes by.

BL;.NKES Room 14 ready for inspection, sir.

As Harris walks away we WIDEN to INCLUDEMahoney looking at them disdainfully from next door.

Mahoney comes insi.dethe room.

AI-TGLE-TACKLEBERRY

He is taking off his jacket, revealing that he hasnea.cly concealed VNO shoulder holsters, four small holsters on his belt, a Derringer tucked in his shirt pocket, plus other small arms shoved into his pants and a knife sticking out of his sock.

ANGLE - MAHONEY

He watches him undress with interest.

As he talkshe gets more and more worked up,

(CONTHHJED)

l-L<\.HONEY And lions, and tigers,and bears ... oh,my.

Tackleberry looks at him suspiciously.

Barbara opens the door. InstantlyTackleberry grabs a gun, whir lsaround and assumes a firingpas i tion.

Barbara lets out a panicked yell and cowers ina corner.

Tackleberry accepts this and goes back to unpackinghis bag. Barbara gets himself together.

Mahoney looks out the window.

MAHONEY'S POV

He spots Lassard leaving his house on the campus. Lassard gives his wife a hug. He exits, and she goes back into the house. Mahoney has an idea.

BACKTO SCENE

Mahoney is leading Barbara tothe house. He stands stra- tegically in front ofa signwhich reads: "Home of Academy Commander."

He reaches the front door.

(to himself) Let it be open, let itbe open...

It is, and Barbara walks inside, Mahoney smiles happily.

Barbara is really impressedwith thedecor. He walks into the master bedroom and putshis suitcaseson the bed. He picks up a framed picture of Ca~t.Lessard on the night- stand. It reads: "With much love,Louis." Barbara thinks this is a gesture of fellowship towa.rdhim.

He hears the SHOWER WATER running. He enters thebathroom.

(CONTI:TUED)

22..

The shower is turnedoff.

At that moment theshower door opens andout steps a naked Mrs. Lassard. Puzzled, she just stares atBarbara. Barbara stares ather, rrozen in shock. Finally he forces some words out ofhis mo~~h.

Another uncomfortablebeat goes by. Thenwe go to

The cadets, now dressedin their all blue uniforms,are seated at their desks. Harrisis standing in front of themulti-tiered classroom at the blackboard. He has the habitof writing almost ev,eryword he utterson the board with incrediblysqueaky chalk.

He writes "Academy" on theboard.

He starts to write like crazy,as fast as he talks.

CASTROAND MAHONEY

They're too busy checking out the female cadets topay atten- tion to Harris. Mahoney spots Thompson nearby, diligent':; taking notes.

Castro spots a.demur-looking Japanese girl, DIANE.YOSHIKA..

Yoshika looks over at Castro shyly. He gives he:r-an"I want you" look,

He's writing so fast now it is impossible to read a•..;ord of the last sentence. He slams the chalk down and turns to Laverne Hooks, who is sitting in the front :cow..

Hooks stands and sta:r-tsdoingher glittery rhythm and blues gy"!."°ations.

Ha=ris cums to Hightowe~, who is sitting behind her.

Hightowerthumbs slowly through thebook on his desk.

Harris turnsand starts erasing theboard. Hightower finds the pageand is about to start readingwhen Copeland, who sits in therow behind him next toBlankes, leans in to him.,

He starts to lauah idiotically when suddenlyHightower tur::s around, grabs Copeland's manual and angrily rips the thick book in half., Harris turns to see this happening.

plankes' isthe only hand to go up.

BLAJ.'TI<ES I served in the U.S. A=y, Airborne 209th Special Forces unit.

Mahoney raiseshis hand.

J:Li,RRIS You had prior military training, Mahoney?

wnat?

Suddenly an eraser bounces off his head, coveringhim with chalk. ·----:-

rL,\HONEY (continuing) Thank you...

The cadets are streaming.out of the classroom. Castrois coming on strong to the seemingly shy Yoshika-

As they walk off, l'fahoneycatchesup with Thompson,who is walking with Blankes and Copeland.

Blankes spinsaround so that he is face to face with Mahoney.

BU..J.'fKES Mahoney, you're crude; you're rude; you're disgusti:ig;you're slime; you have no desire...

Thomoson, tries not to let Blankes see the smileon her face·. There's something about Mahoney she likesdespite herself.

BLAi'lKES I can't wait to get you on that first run tomorrow. It's five miles, miscer; you're gonna die.

COPELAND

BLAN"I<.ES You think so. I do two hundred and fifty a day.

Castro crosses over tothem.

Castro's eyes light up. He knows exactly what Mahoney's going to do.

(CONTI)TUED)

Castro lies on the ground.. Some othercadets drift over to watch. Mahoney grabs one of theirjacekts and puts it over Castro's face.

KAJ'!ONEY (continuing) Now, the whole thing about this situp is it psyches yourmind. (to Castro) Can you see anything under there?

Mahoney gets dow"Tlonall fours and startspounding the ground around Castro's head like a mad man, playing thebongos.

REACTION SHbT - BL.\1-lKES,COPELAND

and some of the other cadets, watching.

MA.HONEYAND CASTRO

Mahoney is still pounding away.

Mahoney pulls the jacket off Castro's face andhe feigns straining with all his might. Then he makes likehe can barely lift his head off the ground. He struggles some more, then finally sinks back like he's exr.austed.

Castro gets up and Blankes lies down on the ground. An even bigger crowd has ga,theredaround them.

ANGLE - MAHONEY AND BLAl'lKESON THE GROUND

Mahoney covers Blankes' face with the jacket.

Mahoney and Castro start pounding next to Blankes' head. After a beat, with Ca.strostill hitting the turf, Mahoney getsup, straddles Blankes' body, facing away from him, and dropshis pants so that his a.ssis inches from Blankes' face.

Okay. Try to situp.

Castro pulls the jacket awayand Blankes sits straight up, his face coming into immediatecontact with Mahoney's rear end. Blankes sits there for abeat trying to figure out what's happened. Meanwhile thecrowd goes berserk, laugh- ing hysterically. Mahoney pullsup his pants and walks off with Castro triumphantly, leavingBlankes to consider how co destroy them.

ESTABLISHING SHOT of the building.

OPE:,1TIGHT ON Lassard. PULL OUT, REVEALI:lGhe isflanked by Har-:-isandCal.la.han.Blankes is at accentionopposite them"

,

BLAi'lKES Believe me, sir, it wasn't my fault. It was Mahoney, he...

Callahanangrily crushes a can of diet Pepsi she's holding.

Callahan a.ndHarris roll theireyes, knowing Blankes is brown-nosing Lassard.

LASS,1.RD Blankes, in everyclass the staff chooses a class sergea.nttobe responsible for disciplineamong his fellow cadets. We think you have the makings ofa great cop, so we're going tomake you class sergeant.

Blankes salutes them and strides out of theroom.

Copeland is waiting for Blankes.

(CONTL:JUED)

COPEL,u'ID Did youmention my name?

BL"fflES Sure.

I know. I like him a lot.

WIDE SHOT of the Academv as the sun comesup. CP~~.NEDOWN and TRUCKPAST the instructors' quarters. THROUGH an open window we SEE Harris in his t~shirt, shavingin a..mi=or. CAc'1ERADOLLIES PAST,and in the nextwindow we FIND Callahan. She is wearing a tank top undershirt, shavingher a::.:noitin her mirror. A loud SIREN goes off.

We PUSH IN TO another window.

Thomoson sits up in bed. She yawns and rememberswhere she is. In the next bed, Yoshika sits up rubbing the sleepfrom her eves. Thomoson is about to dash out of bedwhen she sees a rummaging under Yoshika's blankets. Poppingup from under them is Castro. Thomoson looks at him in a stateof shock as Yoshika smiles shyiy.

We DOLLYPAST a few more windows and PUSH IN as Mahoney sits up in bed.

,

Mahoney crosses to the bathroom.

Fackler flushes the urinal and exits. Mahoney entersand crosses to the sink. He slaos some cold water onhis face. He turns to find Barbara standing there staring athim intensely.

You got to grumpy? What's a grumpy?

B,U>-BARA And I can't grumpy with anyone else in the room.

He exits. Barbara checks the otherstalls to be certain he is alone. Satisfied, he steps into a stalland sits. Mahoney comes tip-toeingback into the room. Quietlyhe opens the stall next to Barbara. He closes the door and sits. CA1'1ERAPUSHES IN ON their feetbeneath the stall doors.

The cadets a:.:eallin P.T. gear (sweatsuits)with theirnames printed on the back. Blankes is runnin~ alongthe t:.:ackin ~azelle-like strides. Thompson is running an impressive second.

ANGLE - CALLA.R.A.NAND SOME OTHER CADETS

Callahan is running alongside the cadets, yelling at them to keep up the pace. Tackleberry passes her, running an evasive zig-zag pattern.

Ai\lOTHERAl\JGLE-THERUNrlER.S

Hightower isrunning steadily with Copeland right by his side. Copelandis clearly out to beat him... He's breathing heavily and givingit everything he's got. But it's not enough. Hightowe:::movesoutpast him with little effort.

Al\JGLE-FACKLER

He runs past. P:.:intedontheback of his shirt, instead of his name, aze thewords, "Fuck Cops." Harris runs up to him.

H.'\RRIS (pointingto his shirt) What'swith this?

Harris poincs to his shirt againand Fackler tugs it up so he can see what it says.

,

Harris runs past him, leaving Fackler mumbling furiously to himself.

SIDE ANGLE - M..i_l{ONEYAND CASTRO

We DOLLYWITH them. They are running side by side, both of themsoaked with sweat. Mahoney dramatically starts humming thetheme f_c(lm"Chariotsof Fire." Castro joins in loudly and chey sta1-.:comove like they're running in slow motion.

They run OUT OF FRA.c'1E;BarbaraENTERS, He pumps his arms vigorously, his head dow--r1,takingdeepbreachs out of his mouth. He has che look of a man out to beat the four minute mile. However, he's not getting any,;,here.It's more like a briskwalking in place ...Just behind him, bringing up the rear, isHooks. Her whole body sways and jiggles.. It looks 1 ,,_iKesh'essmugging1·Je·11o.

FINISH LINE

Blankes is standingnext to Thompson near the finish line.. They hardly look outof breath. Harris runs in behind them and slaps Blankes on theback.

Good run, Blankes,..You, too, Thompson.

BL<\.N'KES Thank you, sir.

Thompson is watching the track. She's trying hard not to laugh. Ha=is turns to seewhat she'slooking at. He sees something ouc there that displeaseshim.

ANGLE - MAHONEY

excitedly pulls out in front of Castro.

l-L4.HONEY(CONT'D) And listen to that crowd they'reall screaming.. , (likea crowd chanting in unison) Mahoney ...Mahoney. ,.Here he comes!

He runs past the finishline, past Harris and Blankes.

Blankes gets a determined lookand walks tow1~d Mahoney.

Ea.'2:."risjoi;isthem.

lL'\RRIS Because he's class sergeant. Get going.

Mahoney turns and runs back to the track. Harrispats Blankes on the back approvingly.

Calla.hanis addressing the class.

He steps forward. She immediately grabs him in avery rough choke hold. Her massive a=s all but mask his face. She then spins him around, picks him up, and slamshim tothe ma.t on his back with all her might. Likea muscle-boundw-restler, she rolls him over, cuffs his hands behind his back, spins him around again and plops on top of him. Her face is· inchesfrom his.

Shegives him a long, intense look. Barbara squi=s uncom- fortably. She gets up and uncuffs Barbara.

(sotto;to Ear-ris) Take over the class. I gotta change my Tampax.

Mahoney overhears. He turns to Castro.

Hooks starts shakingnervously.

H..o,.RR.IS What the hellwas that? Do you think some perpetr2.tor•..;ouldtake you seriously? You have absolutely no co=and presence. (MORE)

HAR..°'IS(CONT'D) You are what:you look like: a big, fat zero.

Copeland laughs. Hooks holds back tears, Hightower would love a piece of Copeland, but controlshimself.

Tackleberry steps forward. He's at attention,as usual.

The class pairs off. Copeland is facing Barbara. Hight:ower pushes Barba.raaside and he makes sure he's face to face with Copeland. Copeland panics,,

COPEL;.ND (thinkingfast:)

Sergeant HarrisI sir. I ve t-;.;isted my ankle, sir.

Hightowe:?:"isdisappointedashe watches Copeland walk away. At firstCopeland forget:sabout his bad ankle; suddenly he remembersto limp.

The line oppositeHightower moves dow-nand this places Barbara againstHightower.

Barbara has to subdueHight:ower. He has never been so frightened in his life,

(CONTI(<llJED)

Barbara tries to stop Hightower,but he is immediately sla=ed to the mat. Next to them, Mahoney andCastro fight playfully with each other in the Three Stooges traditionof fingers in the eyes, fake choking, and pullinghair ...They also make a lot of noise, just like Moe and Curley. Harris watches this silliness, shaking his head.

Blankes looks over and sees them.

BL~fKES Mahone;, you just got yourself KP for the next 20 weeks.

Mahoney hits himself angrily, a la Curley.

TRAINING MONTAGE

EA'"T.SHOOTINGRANGE - DAY

Our cadets are lined up in front:of targets thata.reshaped like the outline of men. They wear mufflers over theirears to block out the sound of GUNSHOTS. Everyone isholding his

Everyone starts FIRING at once in a deafening burst of smoke.

ANGLE -BLANKES

He's aimingcarefully, holding the gun letter perfect. He stops firingfor a minute to check out the target. He looks quite satisfiedwith his performance.

ANGLE - BARBARA

He's firingwith his eyes closed. Each time he pulls the tzigger, a lookof totalfear covers his face.

ANGLE - TACKLEBERRY

He's firing rapidlyand with a vengeance. He unlo_adsoneclip, then quickly reloadswith another. He fires anotherround and looks disappointedwhen he realizes he's outof bullets. With- out missing a beat,he reaches over to Yoshika,who is standing next to him, grabsthe gun out of her hand andgoes back to firing at the targetwith her gun.

Hightower is lifting350 pounds in the weightroom. In the b..g.Barbara is tryingto lift his weights off theground.

Copeland is definitelycheating. He's copyinganswers from a crib sheet.

Mahoney a.nd Castroaredigging a large hole in themiddle of the running track. They stop digging to make sureno one sees them, then go back towork.

All the cadets are changingout of their P..T.gear. Mahoney reaches into his lockerand puts on a shirt that's8 sizes too big for him. Hightowerenters naked from the shower.

Hooks is trying tomake it over a wall, withvery little success. Blankes is yelling ather to hurry up. Hightowercomes up behind her and gives her a littleboost. She jumps overthe wall and lands on top of Fackler,who was standing on theother side.

On the obstacle course,Blankes is breezing throughit as a pleased Lassard lookson. Mahoney is running inand out of the obstacles like a skierthrough a slalom course. Blankes, Harris and Callahan gang upon him and scream in his ear.

, 39,

Mahoney ishere doing KP duty. He's scrubbingdown pans.

INT, LOCKERROOM

Tackleberrysteps out of the showerwearing a gun in a shoulder holster. Nearby, Fackler is just puttingon his uniform. Cas- tro andMahoney, both soaking wet,brush past him, leaving him drenched.

Callahan isrunning through a course inworking with police dogs.

MS. CALLAJ:LA.N These dogs are especially trained to sniff out dope concealed onan individual.

We SEE all the dogs are all over Castro, sniffing_athis pockets. He stands there with a big shit-eatinggrin on his face.

Har::-isisinstr1J.ctingTackleberryin the artof finger- printing a suspect. Tackleberry rolls thefinger of another cadet in the ink, getting the stuff allover his fingers at the same time. We SEE the imurint on theblotter consists of 'theother cadet's fingers,·a.s wellasprints from two of Tackleberry's fingers.

The class is running down a city street. They pass a hot dog stand. Instinctively, Barbara andHooks break ranks and veer toward it. Callahan yells themback intoplace.

~!ahonevand Castro have dug a deep pit andare busy camou- flaging the hole with an old rug and somedirt:.

INT, MESS l:L0.LL

While the cadets eat,in the b.g. Harris andCallahan sit at the staff table engagedin a strenuous armwrestling match. After a beat Callahan pinsHarris easily. Harris sighsand passes her his dessert,

, 40,

HOGANS ALLEY - DAY

This is a realistic-lookingmock-up of a city street used for exercises. The cadets look on as Blanks goes through the course. He scoresbig as he makes his way through the fake street, shootingat the cut-outs that pop out of hiding. As the class watches,Castro hustles Yoshika into a nearby building. Tackleberryis up next. He goes through the course like it's the lastreel of an old western. He shoots, hits the dirt, rolls over,picks up dirt and tosses it in the face of one of the targets.

Castro and Yoshikareappear; she is disheveled. Harris doesn't think somethinglooks right. r,astrogives Harris a sly smile,

Fackler's turn throughHogan's Alley. A target pops out and hits him in the head,knocking him over.

He's firingcasually at the target. We get the sense that he's missing it by a mile.

MEDIUM SHOT - TARGET

Mahonev' sbullets are hitting the ground all a.roundthe tar- get,kicking up a cloud of dirt.

MAHONEY

He takesaim and shoots. His eyes follow the bullets' trail someninety degrees to his right.

EXT,PAR.1<.INGLOT

Lassard is just getting out of his car when suddenlywe HE.AR the IMPACTof the bullet hitting his tire, followed bya loud HISSINGSOUND. Lassard watches silently as his back tire sinks tothe ground. This is followed by his front tire being hit. He turns and his hat is shot off his head.

MAHONEY

He's out of bullets. He looks at the target and shrugs.

Thecity is just waking up. Offin the distance we SEE many tinybeams of light oouncing, comingTOWARDS US. We HEAR the SOUNDof FEET hitting the pavement.

A VOICE barks out a call in cadence. As they get CLOSER, we canMAKE OUT our cadet class runningTOWARD US carrying flash- lights,led by Callahan and Harris.

ANOTHERCITY STREET - LATER IN THATMORNING

As theca.de tscome. runningdownthestreet we can SEE thebleak- ness of the surroun,lingghetto area. In several doorways, tough-lookingkids ,;;atchthecopsgo by with menacing lookson theirfaces.

ANGLE - MAHONEY,CASTRO Al'IDFACKLER

FAClCL:i::R They always do this... It'ssupposed to get you used to the street.

ANGLE - THE STREET

Some of the kids standingon the st::eetstart to "Boo" the cops ...A few yell out someobscenities.

ANGLE - HIGHTOWER

He looks arou..~dgrimly.

ANGLE - DOORWAY

Some hard-core GANGHD!BERS are taunting the cadets. They spot Hightower.

GANG MEMBER ;fol Hey, Hightower...What's happening, pig?

GANG MEMBER ff2 Hightower, you'redead, man.

ANGLE - HIGHTOWER

He looks straight ahead,trying not to acknowledge them. The other cadets all lookat Hightower. Copeland moves a.little closer to Blankes forprotection.

A.1\JGLE-HARRIS

ANGLE - GANGMEMBERS

They continue to yell atHightower and move dowelfrom the doorway to the street. '

WIDE SHOT - THE CADETS

They run quickly dowelthe street,away from their antagonists

ANGLE - HIGHTOWER

Suddenly a large wine bottle comeshurtling at Hightower, missing him by inches. It smasheson the ground right be- side him. He looks at the Gang Members,·hiseyes filled with hatred.

A.N.G'LE-GANGMEMBERS

GANGME!'IBERffrl Hightower, you the enemy now, brother.

They cross the street andmove OUT OFFRAi.'1E.

MEDIUM SHOT - CADETS

Hightower keeps his eyes straight ahead,his thoughtselse- where.

WIDE SHOT -THE C,1.DETS,Il'lCLUDINGHARRIS

l-L.\R...'l.IS Mahoney, let's move.

He leads the cadetsaround the corner and OUT OF SIGHT.

The exhausted cadetsrun toward thegrinder, coming back from the street. Blankes,as usual, is gung-ho, sounding off to the other cadets.

BLru'\JKES All right,let's show Mr. Harris how much we wantto be police officers...Let's run five more miles.

Everyone looks at Blankeslike he's crazy. Blankes takes off and runs out on the track. He runs a few yards and suddenly the ground opens upbeneath him and he sinks out of sight. He has fallen into the hole thatMahoney and Castro camouflaged.

TWOSHOT - l'-.\HONEYANDCASTRO

They give each other self-satisfied smiles

WIDE SHOT - THE CADETS

They run past Blankes,who is totallydazed, sitting in the bottom of the hole.

Ck.'1ER..\PANS thelockerroom. It'svery cramped. Five cadets share a locker. Cadets are showering, tryingto get dressed ... it's total pandemonium. Not helpingmatters is Blankes, who keeps yelling at them to hustle itup. His clone, Copeland, keeps repeating the orders.

MEDIUM SHOT - MAHONEY

He is standing at his locker next to Castro. Castro looks o.s.

Mahoney looks where he's pointing.

THEIR POV

THROUGH a glass door that leads into the sauna area they see a robed Mrs. Lassard get into the sauna.

Ai.'\"/GLE-BARBARA

He comesout of the toilet stall, covered head to toe in towels as ifhe's ashamed for anyone to see his body.

CASTROAND MA.HONEY

They watch him andsmile, getting the same idea at once.

H,H!ONEY Shouldwe?

Castro quickly walks tothe door and removes the l'StaffOnly" sign. Mahoney getsup and crosses to Barbara, putting his ar::aaroundhim.

~!."'-HONEY Barbara, what's thematte'!:'?You look down.

We DOLLYWITH them as theywalk to the sauna room.

~"-HONEY Could help you relax. Tha.tmeans grumpies.

Castro stands in front of the door, smilingas Barba.raopens it and enters the sauna.

I

The steam is thick. Barbara can't see an inch infront of his face.

He's turning down the steam.

Barbara is sitting, totally relaxed. But the steamis dis- sipating. Barbara turns, and now he is face to faceagain with the naked fus. Lassard. Barbara is panicked. They stare at each other for a few beats. Finally she speaksup.

M..,S.LASS.A.RD (calmly puzzled) What's your deal?

I"NT.GYM- DAY

OPEN TIGHT ON Mahoney. He is standing uncomfortably at at- tention. We PAN and FIND Castro,Fackler, Tackleberry andBar- bara standingnext to him. WIDEN toREVEALHarris, Callahan and Blankesfacing them. They lookupset.

l:Lo\.R.R.IS You maggots have the distinctionof being at the bottom ofyour class. You are the worst cadets I'veever seen.

I've tried my best,ma'am.

HAP~"'cIS (yells) Bl.ankes,getthem out of there.

The cadets run outof theroom.

Blankes is runningnext toMahoney, toward the dor:n.

BL<¼\JKES You gotmy ass introuble ...I'll never forget it,either.

Blankesruns away from the group.

That'svery comforting, coming from aman who's parents met at the Bayof Pigs.

They all charge off intothe dorm entrance.

The cadets are firing awayat the target:s. lfahoneylooks over at:Castro. Somethingdoesn't look right:. Castro is wearing stereo hea.dphonesinsteadof sound mufflers. He nudges Castro, who pulls theheadphones off his ears. We can HEAR LOUDMUSIC coming out of them.

47,

FACKLER

He's shooting away at his target. A BUZZER GOES OFF.

They spin around so that the cadets can get their scores. Be- hind Fackler's target is Hrs. Fackler. She looks very distraught..

FACKLER

He can'tbelieve it. The other cadets stare at:him..

They yell and screamat each other as the other cadets look on in astonishment..

Our cadets areja=ed into the room. Castro is busv collect- ingmoney from them. Everyone has a pad of paper and a pen..

Barbara reachesfor some potato chips on the table.

(CONTI'.'lL"ED)

The rest of the guys boo him.

The guys write this down,but they sensesomething is not right.

The guys look ac each other, confused.

The other cadets mumble agreement. Castro realizes they're right.

Everyone screams at Castro.

(CONTIN'L'ED)

48A..

The guys all lookat Castro angrily as theygrab their money back from him.

He turns quicklyand storms out of the room. Mahoney goes after him.

Castro is sittingby the stairs, sulking.

Mahoney looks at Castrosympathetically and decidesdesperate measures must be taken. He goes back toward theroom.

Mahoney stands in thedoon,ay.

He starts to exit, theothers following him.

They all leavethe room. It's empty for a beat; then Cope- land comes slitheringinside. This is a man on a mission. He surveys theroom quickly, and spots the test "answers" lying on thebed. His face lights up deviously as he grabs it and runsout of the room.

Thompson isburning the midnight oil, studying at her desk. Yoshika comes outof the bathroom, her hair all wet, wearing a loose-fittingrobe. She crosses to her bed and begins brushing her hair. There's a Ki'TOCKatthe DOOR. Thompson gets up and opens thedoor a crack. She is surprised to find Mahoney standing there.

THOMPSON: Help you dowhat?

K.\HONEY (begging) More than life itself...Please, please, please don't letme fail ...

KAJtONEY Don't worry... we will.

She opens the door all the way, revealingall the guys from Castro's room standing there. Theymarch past her into the room. Yoshika is thrilled to see themand makes room for a couple of them on her bed.

THO~lPSON Mahoney, what is this?

so. I

Thompson looks at them. They stare back ather with almost Mongoloid-like blankness. Barbara raiseshis hand.

Thompson rolls her eyes, knowing she's got quite ajob on her hands.

THOMPSON'SROOM - SEVERALHOURSLATER

We PAN the room. Tackleberry and Fackler are sacked out on the floor. On one of the beds we FIND Yoshi.kafast asleeu on Castro's shoulder. On Castro's other shoulder, dreami~g blissfully, is Barbara. Sitting next to the desk are Thomp- sonand Mahoney. Both are exhausted, but they're still hard at work.

1-'.AHONEY (groggy) Section 417-B.

Ee goes to puthis arm around her, but she backs away.

SL

She starts to giggle. Just then there's aLOUD KNOCK on the DOOR.

Hahoney realizes he's made a rniscake.

Callahan shakes her head curiously, then decides tomove on and EXITS OUT OF FRA.c'1E.

CAMERA DOLLIES FROM the rear of the classroom. Everyone is busy taking the exam. In the front of the roomHarris is marking papers as Callahan strolls the aisles looking for cheaters.

ANGLE - MARONEY

He is trying to remember an ans--_..r.Nextto him, Thomnson looksup from her paper and is concerned to see hi!:astuck. He remembers the answer and starts writing. She looksre- lieved. Barbara and Tackleberry are confidently ,;.,-riting. Fackler finishes his exam and takes it unto Harris,who is surprisedthat he finished so quickly. Copeland sitsbehind Blankes. He takes a quick peek at the test "answers" (that he stole from Castro's room), which are sitting on his lap.

All thecadets are standing at attention, nervously waiting forHarris to rea.dtheir grades. Callahan and Lassard stand nearby.

He pausesas the boys await the verdict.

K<\RR.IS (continuing; disappointed) ...All passed.

Thompsonand the guys are thrilled.

KA~"'l.RIS (continuing) Now, Mr. Copeland...

COPEL~ND Sir?

(CONTH!UED)

\ Questionnumber one was, "What three

SupremeCourt decisions were instrumentalin determining a suspect'srights?" And your answer was theNina, thePinta and the SantaMaria.

All the cadets laugh.

Copeland is shockedby this. He looks over at Mahoney and Castro, who are doing everythingthey can to stop from busting a gut.

Everyone rushes toward theparking lot. Castro and Yoshika walk with Mahoney.

Mahoney sees Thompson headingfor he!:"carin the parking lot.

K"'-HONEY I ' 11catchup to youguys 1ater.

Mahoney runs after Thompson,catching up with her before she gets to her car.

\ NAHONEY

No problem,_ I'll get you home early.

He runs off. There's a look on Thompson's face thatlets us know the ice is obviously melting.

ANGLE - GRINDER

Harris is talking to Blankes. Copeland, as usual, isright behind him. They are watching Nahoney and the others drive off.

F-1\.RRIS Nahoney and that other scum are really getting on my nerves. I wouldn't be displeased if those assholes had a bit of trouble this weekend... understood?

As Harris walks away, it is clear that Blankes and Copeland areboth very happy about this.

The DOORBELLRINGS. The Thompsons are obviously well or::; in fact,well, well off. The house is gorgeous. Thompson heads for thefront door as the DOORBELL RINGS again. She opens thedoor, revealing Mahoney. He's dressed in a silk robe, P.J.'sand slippers ..He carries a book.

i

just stayedhome and studied.

(CONTH!UED)

She takes the book out:of his hand and looks at

She throws it at him and storms into the living room.

He follows her.

They siton the couch.

She kisses him hard.

(continuing;coming UP for air) Just a second. Iknow your kind.

(CONTicTTJED)

He opens his wallet and pulls out:a condom.. He puts it:to his lips and blows it up like a balloon, then hemakes a balloon animal poodle.

She laughs, and they embrace, rolling off the couch, OUT OF FRAME.

Shegiggles.

OPEN TIGHT ONHartin Milner on "Adam 12." PULL BACKto REVEALTackleberry sitting at the bar reverently mouthing everyword Milner speaks.

DOLLYBACK FURTHER.to REVEALlot:s of people, mostly cadet:s and cops,having a raucus time.

ANdLE - CALLAHAN' S TABLE

She is sitting havinga "meaningful conversation" in a dark corner with a tough-lookingPUNKERLADYwith blue hair. Passing by their tableis Yoshika. She's a little high, dancing very sensuouslyaround the room. Lots of the guys are clapping, enjoying theshow. Castro jumps up from his table and dances like awild man with her, spinning her around, pulling her throughhis legs, etc.

Hooks pulls a very bombed Barbaraout of his seat and t:=ies to make a dancer out ofhim .

They are sitting in a cornerwatching the proceea:i.ngssoberl7. They have menace written allover theirfaces.

BACKTO SCENE

The number ends and everyone applauds. The LEADERof the BAl\JDapproachesthe mike.

ANGLE - THE CROWD

Everyone is disappointed. Tackleberrygets up from the bar and crosses to the stage. He sits at thepiano and starts playing a fast-tempoed rock tune. To everyone'sastonish- ment, he's very good. He starts to singin a raspy voice reminiscent of Joe Cocker. People startdancing again. Hooks crosses over to Hightower,who is sittingalone sipping a beer.

Hightower shyly shakes his head.

She sits down next to him. •He smiles uncomfortably,glad she took the initiative.

EXT'.BAR - NIGHT

Barbara, Tackleberry, Castro and Yoshika exit thebar. We can see they're pretty bombed. They cross to the curb. Mahoney and Thompson are waiting for them in Thompson'scar. They all stagger inside and Mahoney drives off.

PUSH IN ON the bar window. Copeland and Blankeswatch them like a couple of snakes, ready to strike.

EqT. FACKLER'S KITCHEN - NIGHT

Fackler is sitting in his cramped, cluttered kitchen,wait- ing for dinner. THROUGH the door to the hall we can SEE Mrs. F. pass by carrying an armload of Fackler's clothes. After a beat she enters the kitchen and dumns a can of Chef Boyardeespaghetti into a pot on the stove.· She exits and Fackler gets up and turns the flame on under the pot and fishesthe can lid out of the spaghetti.

In theb.g. we SEE Hrs. F. carrying anot:1erpile of shirts.

58. 1

Fackler notices her.

Mrs. F. gives him a dirty look and moves OUT OF SIGHT down thehall. Then we HEAR a DOOR SLAi.'1.

CAt'1ERAFOLLOWSFackleras he moves dowelthe hall and opens the frontdoor.

I

TIGHT SHOT ON Fackler'sfacec·.There's a look of shock as he stands there,frozen for a beat.

At'\JGLEWIDENSashecomes burs tingout of the house in a panic. In theb.g. we HEAR a CAR ENGINE REVVING.

ANGLE - DRIVEWAY

Many a.rticlesofFackler's clothing are spread out all over the driveway. They have tire marks over them. At the end of the drivewaywe FIND a defiant-looking Mrs. Fackler in her car. She steos on theaccelerator and the car lurches for- ward, running.over thepants, shirts and jackets in its path.

Fackler makes a mad-dasheffort to retrieve some of his battered clothes,but he barely has time to pick up a pair of underwear beforei'!rs.Facklerthrows the car in reverse and backs over the clothesagain.

ANOTHER ANGLE

Mahoney's car comes rollingup to the front of Fackler's house. Everyone looks out inamazement at the proceedings.

What a gal! She'sreally figured out a way tomake ironinga breeze.

59. ,

WIDE SHOT -THE DRIVEWAY

Mrs. Facklergets ready for another run on the clothes. Mahoneyhops outof the car and hel;isFackler grab a few pairs of pants justas Mrs. Fackler passes within inches of them. Mahoneygrabs Fackler and leads him to the car.

She looks over her shoulderand sees Fackler getting into Thompson's car.

She snaps the car intoreverse and heads for Thompson's car with the tunnelvision ofa kamakaze pilot.

Mahoney squeals out just in time,Mrs. Fackler missing him bv inches. Fackler screamsback at her through the window as the car pulls away:

Mahoney hands Fackler a beer.

Fackler takes the beer tentatively.

Fackler chug-a-lugs the can of beer.

60,

Copeland's pickup truckpulls up behind Thompson's car. Inside we can SEE Copelanddriving, with Blankes sitting next to him.

COPELI\ND There theyare.

BL<\NKES (surprised) Isthat Thompson in there?...I don'tbelieve it.

Copeland smiles deviouslyand steps on the accelerator.

Mahoney, Tackleberry,Barbara and Fackler are singing along with the RADIO at the topof their lungs. Mahoney encourages Thompson to join in.

- Jus'tthen the car getsa jolt from the rear. Fackler smashes his head into the seat.

EZT. THE ROAD

Copeland's truck pullsalongside Thompson's car. Copeland leans out of thewindow.

COPELA1'lD Hey, Mahoney don ' tyouknow how to drive?

ANGLE INSIDE THOMPSON'SCAR

TEO/'!:PSON Forget them. Let's get back to theAcademy,

Copeland's truck smashes into the sideof Thompson's car.

ANGLE - COPELAND

He laughs moronically.

ANGLE - THE TWO VEHICLES

Couela;;:dside-swinesThompson's car, almost runningit off the roa<l. •

Mahoney turns the wheel quickly. He looks over atThompson.

M.ahoney slamsinto the t::-uck,causingit to skid and almost jackknife intoa tree.

Just then, Copeland smashesthem again from the rear. Mahoney tu::-nsthewheelviolently.

Mahoney smashes the frontend of the car into the side of Copeland's truck, denting thedoor.

ANGLE - COPELAND

COPEL'\ND (furious) All right, jerk-off...You're dead

Copeland smacks into the side of Thompson'scar repeatedly.

LOWANGLE BETWEEN THE TWO VEHICLES

Copeland's truck is smashing away at Thompson'scar.

HIGH SHOT - THE ROAD

We can SEE that the road narrows up ahead and there isa steep embankment.

Mahoney is doing everything he can to keep the car on the road.

Copelandis about to ram Thompson's car over the embankment. Just thena small hand gun is shoved through the window into Copeland'sface.

ANGLE - TACKLEBERRY

He's hangingout the window of Thompson's car and is leaning into Copeland'swindow, straddling the road with his body. In a panic, Copelandveers away from Thompson's car, almost sending Tackleberryto the pavement. He hangs on for dear life between the twomoving vehicles.

Copeland's truck speedsup ahead, with Tackleberry hanging on. (

THROUGH the windshieldwe can SEEa donut stand ahead. Out front police cars are parked,with officers sitting inside them.

WIDE SHOT - THE ROADPAST THE DONUT STAJ.'ID

The two cars go by with aman straddlingthem. Sensing a violation, the cops in two of thepatrol cars immediately turn on their SIRENS and flashing lightsand take off in pursuit.

He pushes his door open. Tacklebe=y loseshis grip.

Fackler and Castropull Tackleberry into the car by his legs as Copeland cakes offahead, with one patrol car in pursuit. They s igna.lforCopeland topull over.

Thompson looks overher shoulder.

KI\HONEY And put that gun away.

Tackleberry dumps the bottles' contents on thefloor. Everyone in the back seat follows suit, dumpingbooze on the floor like crazy, until they're ankledeep in alcoholic beverages.

64. 1

The patrol car pullsup right behind them.

Mahoney turns sharply off theroad. He turns so sharply that he smashes into a roadsidebus bench. The police car pulls up right behind them.

The two Cops exit the patrol carand approach Thompson's car.

CLOSER ANGLE - THOMPSON'SCAR

The Cops open the car doors. A tidal wave of liquor and beer comes roaring out, thoroughly soaking thecops' shoes. They stand there glaring at everyone in thecar for a beat.

The patrol car has dropped off our cadets. Harris is saying goodbye to the two officers,

They drive off. Harris stands in front of thecadets scowl- ing.

Mahoney walks next to Thompson.

Think he means it?

t-L',HONEY C'mon, we had some laughs, met some new people ...

It's clear she'snot amused. She storms off past him.

ANGLE -J:Ll\.RRIS,COPELANDAND BLANKES

Nahoney's about togo inside when he spots Nrs. Fackle:?: running quickly towardhim. She looks more than a little c:?:azed.

She goes runningoff toward the parking lot. Mahoney shakes his head and enters thebuilding.

I:clT.DORM- OUTSIDEFACKLER'S ROOM - DAY

Fackle= comes runningdow--nthehall to Nahoney.

66. ,

He is having a shit-fit.

Just saw your better half. She seemed a bit

l-L'lliONEY Look, why don't you just put the hooker in another room.

M.'lliONEY You what?

Just then Castromoves toward them.

He moves past them. Mahoney grabs Fackler and they cross to Mahoney'sroom.

Mahoney and Fackler come burstingthrough the door. There, sprawled out onMahoney's bed, we SEE one of the sleaziest WOMEN to ever charge for sex.

\ She strikes a seductive pose and smiles at them through crooked teeth.

He pulls her up off the bed and looks around desperatelyfor a place to hide her. He moves her towards the bathroom. He opens tpe door and sees a familiar pair of legs under the stall.

BA.1<.BARA (indignant) Hey, can't a guy get any privacy? I'm trying to make a grumpy.

He slams the door and grabs the Hooker by the hand. He looksfurtively out into the hall, decides the coa.stis clear,and exits with her.

Mahoney, with the Hooker in tow, comes nmning dowu the hall.

They cooeto a door. Mahoney looks inside. Suddenly he hearsVOICES somewhere behind him. He pulls the Hooker into theroom and slams the door.

Theroom issome sort of meeting room, with a dais and podium. In frontof it are a few rows of chairs. Mahoney and the Hookerduck under the podium. Just then the door swings open. CaptainLassard is leading a small group of visitors. They are reporters,political types, and some visiting policemen. Lassard stepsup to the podium, and some of the other police- men sit at thedais.

68. ,

ANGLEUNDER THE PODIUM

Mahoney and the Hooker sit on the floor, huddled under the podium. Lassard's feet ENTER FRA.MEand almost steo on the Hooker'shand. Mahoney grabs her hand away just in time. Shegives Mahoney a seductive smile.

ANGLEON LASSARDAND THE DAIS

A brown-skinnedMANwearing a plumed cap and heavily decor- ated uniform (likethe kind a High School Marching Band leaderwould wear) gets up and takes a bow to hearty applause. He smiles gratefully,revealing many gold-capped "teeth.

ANGLE UNDERPODIUM

The Hooker is gettingbored. She tries to unzip lfahoney's pants. Ee g:cabsherarm and pulls it away from him.

ANGLE ON LASSARD

MEDIUM SHOT -·THE AUDIENCE

REPORTER ffal Yessir, CaptainLassa.rd,how many cadets do youhave here at the Academy?

LAS Sil.RD We can handle onehundred and fifty cadets. Our currentclass has one hundred and t-.ve1veWe have additional dor:natoriesbeingbuilt, so that...

UNDER THE PODIUM

As Lassard drones on in the background, Mahoney has found a hole in the podium and is looking out, with his back to the Hooker. She, meanwhile~ is fascinated with the bulge in Lassard's pants, proving the old adage that "Hell hath no furylike a Hooker with time on her hands." She decides to investigate. Almost mechanically, she reaches out and startsto zip dowu Lassard's fly.

MEDIUM SHOT- LASSARD

He is inmid-boring-sentence when he stops suddenly, sensing that somethingis not quite right. Then we HEAR the loud SOUND of aZIPPER OPENING.

He continues lookinguncomfortable as we HEAR the next Re- porter's question.

REPORTER ffo2 What do you look forin a cadet?

Suddenly Lassard looks like aman who's being sucked through a flavor straw. His expressionchanges quickly from shock to joy to confusion, then back to shock.

REACTION SHOTS - AUDIENCE

They are staring at him curiously.

:ilACKTOL'\SSARD

realizing his mouth is open and nowords are coming out of it. He makes an attempt to go on talking.

LASS~.RD We... also want... good ...Um... Ooh! Ah, great... academic grades ... and things... like oh, boy, oh boy, oh boy... (realizing) ... and of course, leadership... Oh yes... oh yes, leadership... oh, yes... Oh, yes.

ANGLEON INDONESL~N VISITOR

He is watching Lassard with interest.

AUDIENCEREACTIONSHOT

They can't figure out what's happening.

LASSARD

He's speaking.

Lassard closes his eyes for a beat. When he looks up, he realizes where he is.

REACTION - AUDIENCE

They are staring at hirain disbelief.

LASSARD

There is abeat of uncomfortable silence, broken by the SOUNDof a ZIPPER goingup.

UNDER THE PODIUM

Mahoney turns around in timeto see the Hooker closi.ngLas- sard's pants. Mahoney grabs her and pulls her back toward the front of the podium.

L"-SSARDAND THE DAIS

WIDE SHOT - THE ROOM

Everyone starts to get up and exit toward 'thedoor. When no one is looking, Lassard sneaks a peek under the podium.

LASSARD'SPOV

He sees only Mahoney, who smiles a timid smile andwaves meekly at Lassard.

MAHONEY'S POV - L.\SSARD

He looks down at Mahoney, shocked.

(sotto) You still don't get any liberty, mister.

Mahoney liesface-down on his bed. He slowly rolls over and, half asleep, sensesa huge shadow covering his face. He sits upwith a start.

REVERSE SHOT -HIGHTOWER

He is standing overMahoney, looking at him glumly.

Hightower walks towardsthe bed and sits down next to Mahoney.

K.c\.HONEY That's terrific...But it's three- thirty in themorning ...Not that I'm complaining,

HIGHTO'WER

\

Mahonev, I'm in trouble. The drivin§;course is tomorrow.

I

So?

Slowly,painfully, Mahoney gets out of bed and puts on his shoes.

DRIVING COURSE - HIGH ANGLE- NIGHT

The course is amile of twistingasphalt representing every kind of road condition. We SEE a patrol car make a sharp turn, then pull off andpark on a shoulder.

IN'I.PATROL CAR

Mahoney shuts off the engine andpulls up the emergency brake. He then pulls the seatway back.

Hightower gets out of the car asMahoney moves over to the passenger seat. Hightower getsbehind t:hewheel and stares with awe at the dashboard. He sits there,immobile, unsure of what to do next.

Hightower smiles nervously, and turns thekey.

I

Mahoney indicatesto pull the gear lever. The car starts offwith a lurch. Then it stalls. Hightower looks at Mahoney, confused.

It takes off again, abit shakeyat first, but steadily it moves over the track.

I MAH•~~y (V. O.) Very nice. Turn signal...Good ... Left turn. No, the otherway. You know left... the hand youpunch with... Right... No,not right, left... Good ...

A few hours have passed. The car is zoomingover the track with ease at a very high speed.

The glareof the morning sun is refracted off the hood of a ca:::asitrounds the track toward the skid Pan (a slippery part of the track,sprayed with oil and wat~r).

LOW A:.'TGLE

as car comes right AT CAflER.A,doesa complete 360 degree spin. The driver gains control in mid-skid and pulls out of the next turn.

Hightower is driving. He is sweating a lot as he puts the car through its paces. WIDEN to REVEALHarris sitting next tohim. He is taking notes.

Hahoney, Castro,Yoshika and Barbara are watching the track as Thompsondrives up in a patrol car with Callahan. The door opens and sheruns toward them.

(excited) Imade it. (lookingout over thetrack) What'shappening with Hightower?

TH01'!PSON Mahoney, Iheard what you did for Hightower...I'm really impressed.

Thompson smiles at him -- they're clearlyfriends again. Callahan rolls down her window.

Barbara sighs and walks slowly to the car. ( RACK FOCUS TO car backing up through plasticcylindrical cones which have been placed in a zig-zag patternon the asphalt. THROUGH the windshield we can SEE two small eyespeer over the dashboa:,:-d.

Hooks is doing everything she can to seeover her shoulder, but she's too short to get a good view.

Copeland is driving confidently over the track. Suddenly something up ahead disturbs him. He slamson his brakes.

We can SEE Hooks' car backing up, right towardCopeland. In order to get out of the way, Copeland swings tohis right and then runs over all the cones. In a fury,Copeland jumps out of his car and races over to Hooks,who gets out of her car.

Hooks is very upset. Tears start to well up inher eyes.

Through his windshield he sees Copeland yelling atHooks. He immediately sees red and jumps out of the car.

He gets out of the car and runs after him. Callahan comes running right behind him.

Hightower comes charging up to Copeland like a crazed bull. He picks him up off the ground.. Harris tries to separate them,but Hightower pushes him aside with ease. Hightower cockshis arm back.

ANGLE -MAHONEY

'i:ie'srunningto-r;-1ardHightower,

CONTHTTJED:

MAHONEY

Hightower, don t...

Hightower connects with a roundhouse punch and Copeland goes flying. He hits the ground, sliding down the oil slick for several yards. He stops sliding when his head lands in one of the cones.

ANGLE - GALLAJ:l~N

Shehas joined the fray and tries to grab Hightower's ar:n. Hightower turns and instinctively swings at her with a sharp left. She catches this punch under her chin and collapses on theground, knocked out cold.

Hightowerhas his suitcase on the bed and is filling it with clothes. Castro, Barbara and Mahoney sit on the eitherbed watchinghim pack. There's a KNOCKon the DOORand Hooks comes into theroom. She is visibly upset..

Hightower puts nis arm around her and starts out the door. He stops and turnsto Mahoney.

He exits with Hooks. Mahoney indicates for Castro to follow hi!IL

Mahoney and Castro'sflashlights shine through the eerie atmosphere of Hogan'sAlley. Mahoney leads Castro to a storage she.ck.

(CONTI:lUED)

MAHONEY:. Garbage.

He unlocks the door and shines his flashlight inside

THEIR POV -INSIDE THE SHACK

It's floorto ceiling garbage--· tons and tons of it -- everything fromegg shells to :::ustycansand old bottles..

MAHONE': That'show you know it'',been aged toperfection. C'mon, give me a hand.

They hold theirnoses and head into the debris.

Blankes and Copel,mdcome down the hall to their :coom. Copeland puts hiskey inthe lock and turns the doorknob. He pulls on it, but itwon't open. He strains as he pulls on it harder. All of a sudden thedoor gives and springs open.

TIGHT SHOT - BL'il'TI<.":ES~~7)COPELAND

They look up in horror.

WIDE SHOT - INCLUDING TF.EROOM

They are hit with a huge wall of garbagewn1.cn coversthem. They try to get up and walk. This isnext to impossible as the:ceis garbage everywhere. Finally theirheads emerge. Mahoney comes walking by eating a banana. He tosses the peel onto the pile.

,

They watch angrily as hewalks off.

A row of patrol cars lines the curb. There are uniformed cops standing in front of each car. Next to them are our cadets. They are in regularpolice uniforms for the first time. Standing with them are seasonedpolice officers.

ANGLE - L"SSARD

He passes in front of themen likeEisenhower add::-essinghis troops.

TACKLEBERRY

He looks over at his sole=-faced partner. He gives him a conspiratorial wink and gently pats thegun in his holster.

WIDE SHOT

The cadets get into the patrol carswith their various pa::-t- ne::-sandstart to drive off.

( A patrol car moves down the street.

Callahan isdriving. Barbara sics next to her. She casually rests her a= behind Barbara's seat.

There's a fullmoon and the stars are ~winkling brightly. The patrol carpulls in to a wooded lovers lane and parks.

Callahan takes offher jacket. Beneath her short-sleeved shirt we SEE for thefirst time a tattoo on her well-defined biceo. It's the faceof a little caricature of Satan with the ~ords "BORNTO RAISE h"ELL"beneath it. Barbara isn't sure what to do,but somehowhe knows this isn't quite right.

Callahan grabs him andpulls him down beneath her on the seat. She throws off hishat and loosenshis shirt.

Barbara has the look of aman facing death. As Callahan sinks out of sigtt on topof him --

Copeland is sitting in the passengerseat with a tough-faced, older COP. He seems a littlebored as he looks out the window.

The older Cop nods. THROUGH thewindshield we can SEE some black couples crossing the streec.

The older Cop looksat Copeland like there's something seriouslywrong with him.

A patrol car pulls intoa beach parking lot. On the beach we can SEE a campfireburning, and hear LOUDROCKMUSIC.

I"1T.CAR.•

'

Castro is insidewith his partner, a middle-aged K"',.Nwitha large pot belly.

Castro walks, flashlight inhand, dow-nthe beach toward the camprire. When he gets there,a look of happy surprise crosses his face. Sixvery goodlooking teenage girls are in bikinis. They are dancing to themusic on a portable cassette machine. They stop dancingwhen Castro approaches. A great-looking REDHEAD comesup tohim.

Castro checks out the girls...He's in Nirvana.

Blankes is standing with his ticketbook out. He's giving a hard time to a MOTORISTwho sitsbehind the wheel of his car.

SL

The Motorist strikeshis head, disgusted.

EZT. BE-<\CHP.;R.'<INGLOT

Castro's Partner is still sittingin his car. He sips a cup of ,coffeefrom a thermos. He looksat his watch and scratches his head, trying to figureout what's taking Castro so long.

THE BEACH

Castro is having the time of his life,dancing with the girls. A couple of them have their topsoff. He is wearing one of their tops around his neck. One ofthemis wearing his hat.

Copeland and his partner are stillpatrolling a quiet neigh- borhood. They stop for a light.

THROUGH t:1ewindshield we can SEE someLatin-looking kids in suits pull up in a car next to them.

I

CONTUTUED:

COPELAl'lD Cubans! Let's arrest 'en.-

The older Cop rollshis eyesskyward and makes a right turn.

A crowd has gathered in frontof a tall hotel building. CAMERA TILTS UP, REVEALINGa dishevled MAN standing on a ledge, ready to jump.

A patrol car pulls up. Thompsonand her PARTNER, a black cop in his early forties, jumpout and race inside the building.

Thompson and her Partner come runningdown a long hallway.

He runs off. Thompson runs up to a doorand knocks it open with one hard kick of her boot.

A shocked COUPLE sit up in bed.

She crosses to the window and opens it.

The Woman in bed tu:::-nsonthelight. She looks at Thompson.

Thomoson turns to her, surprised.

WOM.l\.~l It'sme, Maureen Barker... How have you been?

Karen suddenlyremembers why she's there.

She sticks her headback out the window.

ANGLE - THE LEDGE

The Man starts inching hisway towardthe window.

I~T. ROON

Maureen is oblivious to all this andpoints to her companion.

Karen, this is Carl Wormser. Carl, Karen and I went to junior college together... So, Kar, what areyou doing now?

ANGLE - M.I\.NON LEDGE

He reaches for Thompson's hand and comes inside.

84. f

\ r'L<\J.'l

I wanted to die... Why didn't you let me die?

•. MAUREEN You t:ohungry? Why don't we go out andget somethingto eat.

Both theNan from the ledgeand Thompson give each other an "Is she crazy?" look.

Patrol car stoos at a crosswalk. Several bearded Hassidic Jews in dark overcoatspass by.

CANERA P.<\J.'lSOFF abrokentrafficsignalTO avery busy inter- section. In the middle of it, timidlydirecting traffic, is Hooks, who is almost impossible to see inthe thick of all the traffic. She is signaling like crazyfor one row of cars to make a left turn when she looksup and seesa large oil tanker coming one way and a trailer carryinga small house that's being moved coming the other. Fearinga head-on collision, she abruptly puts up her hands,causing all the traffic to come to a sudden halt.

WIDE SHOT

At the end of the row of traffic, a carpulling a horse trailer with a horse in it stops short. A ~L~Non a motorcycle smashes into the back end of the trailer andwinds UP with his head ~p the business end of the horse. Hooks comes running over 1.n apanic. She sees the Man withhis head in the horse's butt and calls to him.

Castro's Partner is still in his car. He's fast asleepand snoring slightly.

The ·campfirehas gone out. Silence is broken by the e:ccited SOUNDSof a woman in the throes of ecstacy.

Tackleberry comes stalking up a path to a doorway with his gun drawn.. He charges inside like he's making a bust.

Insidewe find a brightly-lit coffee shop. The customers are toobusy calking and eating to notice Tackleberry looking at themsuspiciously. Tackleberry's Partner, a very straight copwith a crew-cut, comes inside..

Tackleberry sits down on a stoolat the counter. The Waitress brings him a cup of coffee. He finds a newspaper on the stool next to him and starts to read it. CAMERA WIDENS to REVEAL a hardened criminal typewalk overto the cash register and take all the money out of the cashdrawer. Tackleberry is oblivious to this and just goeson reading his paper. The gunman runs out. After a beat,Mahoney and Castro come in with their PARTNERS. Nahoney slapsTackleberry on the back.

Just then Fackler comes charging in. He runsup to the boys.

Mahoney gets up and starts for the door.

Fackler chases after him, followed by Castro.

Mahoney, followed by Castro and Fackler, runs down a row of parked patrol cars. Mahoney jumps into one and starts the engine. Castro gets in next to him.

Mahoney startsto pull away. Fackler quickly opens the back door andhops in, as Mahoney turns on the flashing red light and heads dovm theroad.

Mrs. Fackler is standinghandcuffed before the BOOKING SERGEANT. A police woman is by her side.

The police woman starts tolead her down the hall when Mahoney, Castro and Fackler come chargingin.

Mrs. F. starts beatinghim on the chest.

,. SERGEANT Isee ....Ofcourse... Get her out of here.

Nahoney grabs her a.ndallbut carries her out the c!oor.

Blankes stands close toone of the patrol cars, nervously looking around. WIDEN toREVEAL two legs protruding from under the car.

Copeland slides out andwipes thegrease off his face.. He quickly gets up and slidesa pair of pliers into his pocket.

Suddenly a patrol carpulls into thelot. Blankes and Copeland quickly duckbehind thebuilding.

Mahoney, Castro and Fackler hop out of thepatrol car. A moment later, Harris exits the coffee shop.

He leads Mahoney to thecar Copeland just tamperedwith.

Mahoney gets behind thewheel and they drive off..

BLANKESAND COPELAND

They're watching the car pull away.

Copeland panics and throws the pliers into thebushes.

Barbara sits'nervously at a table. He still looks a little disheveled. His tie is half of£ and his hair is allmussed.

ANGLE - THE BATHROOM DOOR

The door swings open. Callahan comes out. There is some- thing different about her... she is wearing lipstick. But shedoesn't look any less manly, mainly because she still has a mustache. She sits next to Barbara and strokeshis hair. Her friend, the Punker with the blue hair, is seated at the bar. She spots them and approaches their table angrily. She picks a startled Barbara up by the lapels.

She slamshim back into his chair.

MS_ CALLAHA/l (impressed) Why, Margo! I didn't thinkyou cared.

Harris andMahoney pull up behind anabandoned car.

Mahoney isstill driving.

Hahoneypulls up the emergency brakeand gets out of the car.

As hewalks toward the abandoned carwe can SEE the patrol car slowlyroll backwards behind him. Harris looks up and realizeswhat is happening. He stepson the brake, but the car keepsrolling.

He poundson the windshield, butMahoney is too busy looking under thehood of the abandoned vehicleto hear him.

The patrolcar rolls down over thehill and falls out of sight, towarda river bed below.

ANGLE - MAHONEY

looks un from behind the hood atwhere the patrol car used to be. •

Just then he hears a gigantic SPLASH andCRASH. He looks over the side of the hill.

The cadets and their Partners arepulling up and getti~g out of their cars. Everyone is excitedly comparingnotes.

(CONTIN1"ED)

I

After a beat,a towtruck drives up pulling a totalled patrol car. Everyone stops what they're doing to watch it. The tow truckdoor opens and Mahoney jumps out. He sees all eyes are onhim.

l-'U>.HONEY We had a little accident.

Harris comes out of the truck. He has bandages all over his body.

Mahoney stands stiffly at attention. Lessard, Ha:z:risand Callahan stand behind the desk.

Ma.honey standsthere looking athim.

Mahoney opens the door, then turnsback to them.

They stare at him. He exits, sla=ing the door behind him.

l'.ahoneyexitsinto the brightmorning sunlight. Copeland and Blankes are right behind the door,where they have ob- viously been listening.

I

He walks past them.

Mahoney has his bags all packed. He takes out theresigna- tion papers and lays them on his desk. He shrugsand is about to sign them when an announcement comes over theP.A.

Cadets are running towards the dorms.

c~~'1ERADOLLIES PAST severalrows of cadets standing ominously at attention in full riot gear. They are wearing helmetswith dark visors so it is hard to make out anyone's face. Everyone is loaded down with automatic rifles and other anti-riot devices.

Lassard and STEVENSON, the Chief of Police, a silver-haired, distinguished-looking cop in a very decorated uniform, step up to che front of the line.

WIDE SHOT

The cadets allmove quicklytoward waiting police department buses.

Harris stands at one of chebus doors hustling the cadets inside.

A cadet moves past and starts togo up the bus·stairs. Harris does a take and callsafter hirn.

l-!ahoneyliftshis visor andwinks at Harris.

(continuing) Get back here.

Just then Chief Stevenson comesup tohim.

STEVENSON

Harris, move em out.

~ahoney ducks into the bus, followedby the others.

The bus carrying the cadets, Harris, Callahan and Lassard drives througha police blockade and enters the riot zone. Thereis debris everywhere. Smoke rises from several dis- tant fires. They pass a car that has been overturned and set on fire. Store fronts have been broken and we SEE a coupleof looterscarrying a TV set. Some teenagers appear andbegin pelting the bus with bricks and yelling, "Pigs!"

The cadets flinchas the bus is hit by bricks. THROUGH a windowwe SEE a squadcar racing to apprehend the rock throwers. The bus comes to astop in an area that is filled with looters. Squad cars and out-numberedriot police watch from a safe distance.

Tackleberry jumps tohis feet and yells out as if he's on the Notre Dame football teambus ..

TACKLEilERRY Let's beat 'em!

He'runs out the door followedby the rest of the cadets.

The cadets gather around Harris,Callahan and Lassard. Thev look to the lawlessness in frontof them. Barbara is really scared as the menacing lootersrun with their booty.

Chief Scevenson enters.

Yes, sir.

L.:\SSARD Yes, sir. (to Callahan) Miss Callahan...

/ Tackleberry ca.n'twait any ionger.

He runs pest Callahan, almost knocking her over.

Stevenson, puzzled, turns to Lasserd.

Lassard gives him a forced smile.

He turns to Harris.

The cadetshead for the looters. Fackler flips down his riot helmetvisor. However, it comes down too..hardand hi tshim in the face.

ANGLE - TACKLEBERRY

He's chasing afterone of the looters who runs into a Baskin- Robbins. Tackleberryruns at full speed and leaps with all the gusto of Supermantaking off. He dives through the plate glass window and looterscome pouring out, all of them exiting the Baskin-Robbins eatingice cream cones.

The cadets, plusHarris and Callahan, reach the action. They grab at the lootersTackleberry has ro1..'~tedout.

WIDE SHOT

The cadets are taking people intocustody. Copel~nd has his gun on a looter who is holding an icecream cone.

The looter raises his hands and drops thecone.

The looter does as he's told.

ANGLE

Tackleberry is wresting a cone from a looter'shand as if it were a gun. Barbara is timidly helping load lootersinto a police van. He's obviously been dipping into theice cream himself.. We see his mouth is coveredwith chocolate.

In the midst of all the action, Castro is leaningup against the side of a building, calmly talking to the female loote::: he caught.

Down the street a mob heads for more stores to loot. Break·- ing off f:::-omthemainbody are several obese looterswho I smash into a Big Man's store.

She is putting a prisonerinto a police van. Just beforeshe closes the door we HEARMAHONEY.

He and Castro enter carryinga color TV.

He puts the TV into thevan and closes the door, and itdrives ori:. Castro and Mahoneywave to the van as if it's a carfull of relatives.

Castro puts his arm aroundMahoney.

Mahoney turns and spots Barbaraleaving his post and quickly moving into the men's roomof a gas station. Mahoneypoints this out to Castro.

A nearby mini-cam news teamis filming the action. Hahoney's eyes light up.

They cross to the news team.

i'!AHONEY (continuing) You guys wantan exclusive. follow us.

Mahoney and Castro lead thenews team to the gas stationrest- room door.

Mahoney quickly pulls open thedoor. The cameramanraces in as Mahoney swings open thestall door. Barbara sitson the pot, blinded by the glareof the TV lights.

No one is in the room,but theTV set is on. A well-dressed ANCHORMAN is talking INTOCAMERA.

Mrs. Lassard comes out of thebathroom with a towelwrapped around her. She looks at theTV and drops her towelin shock.

CLOSEUP - TV SCREEN

Barbara is sitting on thepot, screaming angrily.

MRS. LASSARD

can't believe what she's seeing.

She is standing outside a store when a largeman knocks her over and runs down the street. She instinctivelyjumps to her feet and yells out to him.

Her voice, for the first time, rings out with authority. The man stoos dead in his tracks and i=ediately putsup his hands. Hooks i~ as surprised as anyone.

99. I

The Man comes over to her and she grabshim roughly by the shirt and leads him to the police van. Harris is standing by the van and is in the way.

Stunned, Harri..:.stepsaside. Hooks tossesher looterinto the van and slariJthe door shut behind him. Harris spots Barbara going by.

Barbara runs to his side.

EXT·.STREET COfu'-TER

It's a quiet neighborhood. It seems far removed from the riot action. Harris and Barbara pull up in a squad car and get out.

You stay here.

He hands Barbara a walkie-talkie.

He getsin the squad car and drives off, leaving Barbara alone.

-

They form on a city street. Suddenly a squad ofpolice cars, with lights flashing and SIRENS blaring, come aroundthe corner. They drive into the crowd, breaking themup.

Inside one of the cars are Mahoney at thewheel andCastro at his side.

This is easy.

Castro hits the SIREN a few times.

STREET

Another group of rioters is "-1..orn11.ng"•Thepolicecarstake off after them.

l1.<\.HONEY Here we go again!

He hits the SIREN.

STREET

The mob breaks into t-,mbodies. All the squad cars go afte:::-onemob,exceptMahoney, who goes after the other. This was a bad move. They are now in the midst of a street filledwith rioters. Mahoney hits the brakes. The rioters quicklysurround the car. They begin to pound on the car and tearat it, ripping off a bumper and a light.

l1.<\.HONEY (to Castro) Gimme your gutfeeling. You think we're in troublenow?

Rioters climb all over the car. Mahoney hits the windshield wiper, trying to slap the people away. Seeing this isn't helping, he hits the window cleaning button which spritzes water on the windshield.

He handsGas troa bullhorn..

K,IBONEY (continuing) You go out and talk to them.

He giveshim back the bullhorn.

l"f.Af!0NEY Okay. But I really think you're going towish you were doing this.

Mahoney openshis car door.

Much to the surpriseof the rioters, Mahoney gets out of his car. Stunned, theywatch as he climbs onto the hood of the car. Seeing thingshave calmed down a little, Castro gets out of the car also.

The crowd yells angrily.

The crowd surges forward.

K~.HONEY Hold it! Anyone here from out of town?

Mahoney plays the rioters like they were customers in a small lounge in Las Vegas.

K<IBONEY (continuing) Any birthdays out there? Anniversaries? Are ya having fun? Here's a song I've had many requests for time and time again ..,

The crowd comes at them with kill in their eyes. Mahoney dropsthe bullhorn and climbs over the roof of the car and jumps off the trunk, followed by Castro, and closely by the rioters.

BARB1'..RA.

He hears something. Reluctantly he turns to the sound. It's a gangof rioters coming up a hill. Barbara is frozen with fear. The rioters spot him. They run a few steps up the hill, then stopdead in their tracks. Barbara is bewildered.. They seem tobe as frightened as he is. He looks behind him. We REVEALhe is standingin front of a glass shop. In the window is a displayof mirrors. Each mirror catches Ba.rbara's reflection so that therenow are 30 of him. Pumped with confidence, Barbarastands unafra.id. He takes out his night sti,ckand taps i.tmenacinglyinto his palm. His 30 reflec- tions, of course,do thesame. He gets a bi.tcocky. He paces andmakes menacing moves. At one point he paces too far; he goes right past themirror display and all his reinforcements disappear. Noticinghis mis take,Ba.rbaraquickly runs back and regains hi.scomrades.

The rioters become suspicious. They slowly walk up the hill. Now their reflections arein the mirror. Barbara looks behind and sees their images andhe knows they've caught on. Wisely he runs as they charge afterhim.

BLANKES AND COPELAND

They are harassing a groupof people on the other siae of a chain link fence. They arewalking do,m the length of the fence rapping their nightstickson it. The crowd on the toher side follows them.

I COPEL".ND

You chicken-shit assholes.

Theypull theirguns on the mob. The mob cowers for a second. Copeland thinksthis is funny and he laughs his head off as he threatens themwith his gun. The crowd is getting angrier and angrier. Unfortunately for Copeland and Blankes the chain link fenceends. They are now face to face with an angrymob. They back away and point their guns at the crowd. The crowd chargesand, panicked, they throw down their guns and run.

AMA1\Jin the crowdpicks up the guns and savors his find as the crowd,minus h;m, chases after Blankes and Copeland.

MAHONEY AND CASTRO

They are being chasedby the mob. They round a corner and duck into a doorway. After a beat, the mob rounds the same corner and runsby them.

-,A.HONEY We lost them.

They peek around thecorner of the building. Simultanequsly peeking around the samecorner from the other side is the other half of themob. Both sides are startled. Mahoney and Castro run and themob joins up again and gives chase.

BARBARA

He is running and talkinginto the walkie-talkie. iiispur- suers are close behind.

SergeantHarris. I'm being chased by 30 rioters!

speaking into hiswalkie-talkie.

i Barba=a r~ns by Ha~ris. He's still talking into his walkie- talkie.

(CONTINfficD)

Surprised,Harris watches Barbara pass by. He looks in the directionof the mob.

They areon him before he can react. Several subdue him, while the othersgive chase. Fackler sees what has happened and he runs toassist Harris. He takes two strides and falls from sightas he steps into an open manhole. He crawls out of themanhole. Bad timing on his part. He is right in themiddle of the mob chasing Barbara. ~hey don't seem to know he'srunning with them. He tries to ~0ke him- self invisible sohe hunches dowu as he runs. Fina.lly someone notices he'sa cop.

Before anyone can react,Fackler turns on the speed and runs past everyone, catchingup with Barbara.

MAHONEY AND CASTRO

They are running dm,u the street, stillbeing chased by their mob. They see Fackler and Barbararound a corner a few yards ahead of them.

Their elation is short-lived, however,when they see that Fackler and Barbara are also being chased. To a.dd totheir woes, coming straight at them are Blankes andCopeland who are running for their lives, chased by peoplewho want to kill them.

All parties meet in the middle of the street ina massive human collision. Cop bumps into cop and rioter smashes into rioter.

Fina.llyall parties untangle and each mob finds th.ecops they were chasing before, picking up the pursuitwhere they left off.

MAHONEY A).'DCASTRO

They run into an alley. Unfortunately it's a dead end.

Oops, my fault.

The mob sees they have them cornered. They fill the alley. Mahoney grabs a beer bottle out of a trash can. He breaks itoff and brandishes the jagged edge at the crowd.

A huge hulk of a man in the crowd picks up an empty Spark- lettesbottle. He breaks it off and brandishes it at our guys.

SuddenlyGUNSHOTS ring out. Everyone scatters in a frightened stampede.

The GUNSHOTS continue. Mahoney and Castro peek around a cornerand see a sniper on top of a nearby buildi~g. He's the sameMan who picked up Blankes' and Copeland's guns earlier. He has police pinned down behind their squad cars. The police don't dare fire back, and we quickly see why. ·The sniperis using Harris as cover. Lying face down in the streetwith no cover is Thompson. A police officeris also trapped and liesbeside her. Bullets kick up aroend them.

ANGLE -CASTROAND MAHONEY

Mahoney waits for his moment and runs to the buildingwhere the sniperis. The sniper catches a glimpse of Mahoney and heFIRES a shot, just missing him. Before he can get off another shot,Mahoney is at the fire escape, out of his view.

Mahoney runs up the fireescape. It's a long, exhausting climb. Halfwayup he has to take a moment to catch his breath. After firinga volley at Thompson, the sniper starts to search forMahoney. Castro springs into action. He jumps out from behind thecorner of the building he's hiding behind. He waveshis armsand yells, attracting the sniper's attention.

The sniper FIRES three quick shotsat Castro, who just makes it to cover.

MA..J.JONEY

He makes his way to the too of the fireescape. He ducks down just below the rooftop level. He draws his gun and gathers himself.

THOMPSON

She is watching intently.

The Cop next to her looks up. It's Reed,the cop who put him in the Academy.

MAHONEY

He peers over the roof. The sniper isn'talone. He has three pals, and they were waiting for him. One of them wields a baseball bat and knocks the gunout of Mahoney's hand. The sniper keeps Harris as a shieldand comes after Mahoney. Hahoney races away from him, downthe fire escape. The sniper's BULLETSkick up all aroundhim.

ANGLE - LASSARDAND CALLAHAN

They are crouched behind a squad caron the street.

ANGLE - ROOF

The sniper leaves Harris for a second. Thompson sees an op··· portunity and she FIRES at him. The sniper grabs Harris again and returns FIRE at Thompson. Mahoney is halr.,;-aydown the fire escape. He sees the sniperis back shooting at Thompson. He runs up the fire escapeagain.

He's winded, but he makes it to the top. He takes out his nightstick and surprises the Man withthe bat, who is stand- ing near the fire escape, He rapshim hard on the balls. The two others come at him and he hits themin the balls. One by one they recover and each time hegives them another shot to the family jewels. The sniper can'tget a good shot at Mahoney because one of his friends isalways in the way.

Finally he pushes Ha=is at Mahoney, Ma.honey seesa.nether person coming at him, and instinctivelyhe raps him in the \ nuts. Unfortunately it's Harris,who isnow one of those ca1,1ghtinMahoney's nightstick to theballs rotation ..

Finally the sniper rushes Mahoney,who isbusy rapping a pair of nuts.. He smashes him hard on theback with his gun. Mahoney falls. He lands hard on hisback, almost unconscious. The sniper stands over him.

He raises his glli,toshoot. Just thena.large, black hand g=abs him by the shoulder and spins him around. We REVEAL it is Hightower.

HIGHTOWER

He gives the Sniper a seriesof punches, sendinghim sprawling. The man with the batrecovers and comes at Hightower. ,H.igh- tower spins, picks himup and slams him to the roof. In quick succession, he punchesout the other rioters.

Mahoney staggers tohis feet and picks up the Sniper'sguns. He looks at the handles.

INSERT - GUNS

On the gun handleswe can SEE the names "C. Blankes,"and "B. Copeland" clearly engraved.

ANGLE - MAHONEY

He smiles and waves to thepolice below.

BLlu'f"lESANDCOPEU~'ID

They know they're in big trouble.

L<\.SSARDANDCALLAHAN

They can't believe it.

CADETS

They come out from behind their squad cars,cheering Mahoney.

THOMPSON

She helps Reed to his feet. Both areproud of Mahoney.

( CASTROAND HOOKS

They jump for joy.

109.. ,

ANGLE - BLANK.ESANDCOPELAND

They can't stand it..

He and Hightower exchangehugs.

A stage has been set up and somespectator stands, which are filled with friends and relatives. The cadets are in full police uniform, sitting proudlyoff to one side. Chief Steven- son and the other instructors sitbehind Caotain Lessard, who is in mid-speech. •

WIDE SHOT - THE SPECTATORS

They applaud wildly..

PAN THE CADETS

Tackleberry, Fackler, Barbara, sit there proudly. Behind them Castro sits contentedly holding Yoshika's hand.

MEDIUM SHOT - L~SSARD

She hugshim proudly. He gets up and crosses to Lessard at themicrophone.

( REACTION SHOT - THE OTHERCADETS

They are cheering and applaudingwildly.

He blows kissesat the crowd.

SPECTATORS

applaud enthusiastically.

THE CADETS

give him a standingovation.

It's right after the ceremonies. Cadets are walking to ~heir cars ca=ying their suitcases,saying goodbye to each other,

Ha=is and Callahan are shakingcadets' hands, congratulating them.

Reed comes up toMahoney, his arm in a sling, but he is smiling broadly.

Rf:-:;D Before I got squaredaway I was the same kind of assholeyou are.

( ANGLE - CALLilli.!l.N

She spots Barbara. He holds out hishand and she grabs him, planting a big, wet kiss on his lips.

He races past her. She looks after himwith starsin her eyes. He walks to his pa.rents'car. Hismother gets out and hugs him. His dog takes this opportunityto hop out of the car and race to Lassard. The dog immediatelyjumps on •him and reacquaints himself with Lassard's leg,pumping away like there's no tomorrow.

Tackleberry moves through the crowd of parentsand friends, now a proud cop doing his duty.

Thenew cadet class, dressed in their civvies, is lining up. A bus isunloading the frightened new recruits nearby as Harris encouragesthem to move quickly.

ANOTHERANGLE -GRINDER

Mahoney,Thompson, Castro, Yoshika, Hooks and Fackler are watchingnearby.

ANGLE - HIGHTO\,t.R

He is standing in the front of the line. Harris comesUP to him.

L~.RRIS All right, class sergeant, get these people moving out.

The, cadetsstart to march in very sloppy formation.

RACKFOCUS TO our cops.

fa~1GLE-COPELJ~1DAND BLANKES

They are marching along with the other new cadets,not looking too happy about it, Hightower moves up to them.

HIGHTOw"ER Let's go, scum, pie~ it up.

They obediently move quickly with the others.

ANGLE - OUR GROUP

Everyone is smilingbroadly with the thought ofwhat Hightower has in store for Copelandand Blankes. Fackler's smilefades quickly, however, ashe watches the cadets come towardthem.

ANGLE - THE CADETS

As they pass our groupwe SEE Mrs. Fackler marchingin forma- tion with the other cadets. Fackler goes runningup alongside her.

Mrs. F. pays no attentionto him as Fackler followsthe cadets off into the distance.

PARKINGLOT

Thompson, Mahoney,Castro and Yoshika make theirway toward their cars.

Mahoney and Thompsonget into Thompson's car.,It's all decked out like a car aftera wedding with balloonsand crepe paper decorations.

I

\ EXT. CAR

Mahoney andThompson kiss, and as the cardrives off, we can READ the signon the back: "NOT MARRIEDJUST !L1.VINGSEX."

CANERA CP~!u\JESUP asthecardrives off. We can SEE the new cadetsmarching with Harris and Callahanscreaming at them.

I