"POLICE ACADEMY 3 BACK IN TRAINING" (1986)

WILL SERVE AS THE OPEMIMG OF THE FILM.

THIS l}(NO WAY AFFECTS PRODUCTION OR

REVISED PAGES 3 SEPTEMBER 1985

REVISED PAGES 4 SEPTEMBER 1985

Establishing shot over which we hear pretentious, official-sounding MUSIC. And, judging by the official- looking cars and the helicopter squatting on the parade field, something big is going on here.

FROH THE STAGE

GOVERHOR NEILSON addresses the audience. Behind him sits a dour group o!·t140·menand two women - the EVALUATION COMMITTEE. Beside the Com111itteesitCONNAHDANTS LASSARD and Mauser, Lt. Proctor and CHIEF HURST.

ANGLE ON THE GRADUATES

TWO GROUPS in different uniforms, sitting on opposite sides of an aisle. We also discover CALLAHAN in front and JONES in back with Blanks and Copeland. Copeland's wearing a neck brace. They e~change conspiratorial smirks.

NEILSON <O.S.> However, it saddens me to tell you that this is i:helast time there will be two graduating classes. It's time to tighten our belts.

(COHTIHUED>

Revised 8/28/85 •

CONTI HUED:

ANGLE OH LASSARD

engrossed in chasing away a fly playing Kamakazi pilot with his head. Over this we hear •••

NEILSON <O.S.) Time to close one of our Academies. But in the spirit of fair play for which my administration is noted. I~ve.appointed•••

· ANGLE OH EVALUATION COMMITTEE

and boy are they a humorless looking bunch.

HEIJ,SOH(O.S.) ·.••• a.Committee to evaluateand compare the two. So, each Academy's fate _rests in theirown hands.

ANGLE OK LASSARD

We can't be sure he's heard any of this because the damn fly is driving him nuts. It lands on. the cheek of a WOMAH beside him. Lassard is fascinated. Slowly, carefully, he raises his hand to strike as •••

I'm sure b·othCommandants welcome ·,thischallenge •..

SLAM, Lassard nails the fly, sending the woman sprawling out of FRAME.

THE GOVERNOR

turns, oblivious to the slight commotion behind him.

The AUDIENCE applauds. Lassard stands, a bit bewildered.

Revised 7/26/85 3.

Let's take a second to set things up: The Governor's helicopter squats at the far end of the Parade Field; to reach it, the Governor must pass before a long line of POLICE OFFICERS who stand ready to salute him.

Mauser and his boot-licking assistant, Lt. Proctor, cross to Lassard. Callahan, wearing mirror-shades {she's always * wearing mirrored-shades), stands beside him at rigid t parade rest, followed by Blanks, Copeland and Jones. ~

The Governor, the Evaluation Committee and POLICE COMMISSIONER HURST arrive and Mauser bowsrepeatedly.

And he does, getting raised eyebrow looks and nervous smiles as they pass by.

CALLAHAM * <with no change in "' position or " expre:::sio11) Why beat around the bush, Mauser? Just get down on your knees and kiss his ass.

(COHTIHUED>

Revised 7/26/85 4.

3 COHTIHUED: 3

11auser steps in front of theGovernor and brandishes a file folder thick with papers in his face.

The Governor nods, tries to step around Mauser, who moves to block him.

AMGLE ON .JONES

,.

The glimmer in his eye suggests he's up to no good.

AKOTHER ANGLE

so 1>1eare seeingMauser over Jones• shoulde1·.

And Mauser BELCHES.

Rather, Jones manufactures a belch for him. Perhaps the loudest belch we've ever heard. The Governor steps back -- stunned. Mauser's st1mned too -- he can't believe he did that. Lassard steps for~ard. x

LASSARD • I assure you GovGrnor, Commandant ~ Mauser does not speak for this Academy.

rlAUSER I.. .I ...sir ...

(CONTINUED>

Revised 8/28/8S .5.

3 COKTIHUED: <2> 3

t···.

Jones manufactures a littie STOMACH RUMBLING then another BELCH. Mauser grabs his gut, then his mouth; •• looks horri£ied ••• the Governor-and EvaluationCo111111itteegive him a wide berth as they head for the helicopter •

(muttezed to l'lau~er) Get hold of yourself, idiot. You're 111aking_theGovernorsick.·

Hurst storms off. Mauser turns on Proctor.

-·,':MAUSER What__thehell.did you let me eat? ':-,.

Proc_tor sputters. ,:O

· · .LASSARD :Well, l'fau"ser,I :think you'vemade a lasting impression on the Governor. ·.

l'IAUSER (wavas his file> This'll make the only lasting impression that counts. We'll •see-1'1ho·•sgotanAcademy left when.this is over. ·

Mauser and p·roctorstorm off. Lassard 's concerned.

Copeland and Blanks snap off a salute and exit FRAME. A beat. then. in unison •••

LASSARD/JOMES/CALLAHAH <-inunison)

CLOSE on Mahoney in uniform. We don't know where he is or what's going on but judging by the SHOUTS and SCREAMS. the POUNDING OF RACING FEET and the frantic eMpression on

Revised 8/Z8/85 SA.

CONTINUED: II

Mahoney's £ace. we're in the middle of a riot.

l'IAHOKEY (shouts) No! Stop! No! (blows whistle)

WIDE

as he ~alks forward and we discover the source of all that noise - TWO GIRLS' BASKETBALL TEAMS have been going at it on a playground court. The qualifications for these teams is that you have to look great in shorts and a tee -shirt. ·They all do as they stop playing and turn to Mahoney.

l'IAHOHEY It's a simple give and go,,, Gathe.rr'ound•••

He motions them around as he sits on his ha1.mches to draw some X's and o•s on the hardtop.

l'IAHOHEY Ko~•.all you do is •••

Mahoney stops as he looks up - totally encircled by the girls. He clears his thro·at.

MAHOHEY'S PATROL CAR 'IA

parked near the playground. A nine year old black kid named TOMMY, sits in the driver's seat, feet propped up on the dashboard, reading a comic book. The car radio CRACKLES OK and he answers.

rhis last bit startles Tommy. He sits bolt upright, then looks around to discover Jones peering through a window.

(COM'l'IlWED>

Revised 8/28/85 ASA. :t

CONTINUED: 4A .....-.. Tommy smiles, pleased.

TOl111Y (duplicating radio voice> Ah, l shoulda known it was you!

5 THE PLAYGROUND 5

Mahoney r.uns theteams through a.drill, He stands at the top of the key and passes the ball off to a girl slashing pas.thim. At least that's how it's supposed to work.

The first girl through, takes the pass but her defender sails right into Mahoney, The two go down.

The others have gathered around as they stand•••

The girls laugh. Tommy breal<s through the circle.

Mahoney's expression changes and we linger on Mahoney long enough to know this is important, then .••

Revised 8/28/85 SB.

6 EXt, PARK -HIGHT 6

t

We are looking across an expanse of grass at a WOl1AH seated with her back to us on a park bench. We can't tell much about her except that she's wearing a BARBI-DOLL blond wig, she's a bit on the bulky side and the purse beside her is big enough to carry a micro,~ave.

A l'IAHwhoexudes purse snatcher. steps into the f.g. an:d looks around surreptitiously. He slinks towards the unsuspecting woman.

P.O.V. MAH - WOl'IAM

and her tempting purse. His ha'l'!dreaches for it aswe•••

ANGLE on the purse.snatcher, clamping hold of the purse 'straps. He takes a step then is suddenly pulled back, out of FRAME.

WIDE

The woman jerks on the purse so hard the man flies over the bench. _hitt.ingtheground 1.o1ithaTHUD. He. looks up in painful amazement, e.ye.sfilledwith horror. He screams,

P.0.V. 11AM.-WOMAN

Only now we discover the scowling face of HIGHTOWER under that blond wig.

BACK IN SCENE

:t

there's a CACKLING RADIO SOUND from somewhere and Hightower

:t

extends a walkie-talliiefrom wher·ehis cleavage should be. We·hear •.•

,. RADIO VOICE (V.0.) ,c Hlghtower.•• turn in your pantyhose, :t Lassard needs help.

A beat for Hightower's reaction, then •••

7 :c

7 OIUTTED

Revised 8/28/85 SC.

At first, we seem to be tracking through some exotic jungle. Jungle birds CHIRP, jungle bugs make jungle BUG SOUNDS, all heightened by ominous jungle STALKING MUSIC.

BUD, a gangly twenty year old, moves cautiously around a palm tree. He stops. Looks down. Bends and we bend with him to discover •••

LITTLE EUGENE

Sgt. Tackleberry•s two year old son. He wears a diaper, a toy holster and he carries a plastic squirt gun.

<whispered)

a hint. Where's he hiding?

AHGLE on •••wel"l,we can't be sure but it looks like wet sand. Slowly, a form begins to emerge from the sand: ·it's TACKLEBERRr, bare chested, with'a bow slung across his shoulder -he's doing his best RAMBO OUT OF THE MUD impersonati.on.

ANGLE on_Bud trying to get some hints from Little Eugene.

A wet sand covered Tackleberry looms ominously in the b.g., then lunges at Bud gripping him around the throat.

Tackleberry loosens his grip; a distant, glazed look in his eyes. If you sat next to someone on a bus ~ith this look, you'd move immediately. Bud rubs his throat. Tackleberry picks up his son as we go •••

The kid giggles and playfully squirts Tackleberry in the face with a spray from the water pistol.

<COMTIMUED>

Revised 8/28/85 SD,

8 COHTINUED: 8

Meanwhile, we're discovering Tackleberry•s jungle's "' composed of potted palms. the SOUNDS are provided by a s tape deck and Tackleberry's hiding place was a child's sandbox.

.I IMT. HALLWAY - DAY 9

There's bright, blinding light as,.from a LOW ANGLE we

ECHOING CLICK of boots on the hard surface and then SIX ELONGATED SHADOWS MOVE towards CAMERA. Dramatic MUSIC SWELLS as the CAMERA tilts up to £ind five silhouettes dramatically backlit - smoke billowing up behind them.

We may not recognize them at first but these are our heroes, making an entrance that has all the my~tic and heroic impact of "THE RIGHT STUFF". Mahone7, Jones, Tackleberry. Hooks, Hightower and Callahan sweep towards us -.avenging angels. determined to save the day.

Lassard sits at his.desk, flanked by Blanks and Copeland. In front of Lassard is a goldfish bowl containing a LARGE GOLDFISH. Lassard, Copeland and Blanks look up as.••

P.O.V. ALL OF THEM - OUR HEROES

dramatically fillin~ the doorway.

BACK IN SCEHE

Blanks and Copeland are obviously unhappy as our heroes line up in front of Lassard's desk. Lassard stands, a

,.

riding crop in hand. He touches it to the brim of his cap and snaps off a salute.

<COMTIHUED)

Revised 8/28/85 ..

: BLANKS ·..(interrupting) Sfr,·'t_don't see.why we Mahoney and these •••

· LASSARD Sgt. Blanks, the Academy is £acing its greatest challenge. We _must WOI'~:·together.

As Lassa~d SP.&aks.h~ paces behind his desk, tapping his hand with the. crop-for emphasis. ·We suspect he may have seen PATTON a few too nnmy times. Fishbowl and fish are on desk. ····· ·

-f~·:. ..i:·..':·...LASSA RD

out~any, many fine police officers, the·,state.saysit can no longer

what tht1>Y.didwithall the money•••

Lassard gets carried away and smacks his palm too hard with the riding crop. He lets out a controlled HUM of pain but ....... goes o_nwith new zeal•

Lassard smacks the desk with the crop and the fish flies out •.Mahoney catches it. Drops it in bowl. Lassard lays the crop on the desk and sits,

Lost in thought, he rolls back and forth in his chair, each time straying just a little. bit furtherfrom the desk.

ANGLE on our heroes; their heads move side to side track- ing Lassard as if viewing a tennis match.

AKGLE 0}[Lassard rolling back and forth.

Revised 8/28/85 SF/G. •

10 CONTINUED: (2> 10

Lassard has rolled completely out of FRAME. There's an O.S. CRASH then the chair rolls back into FRAME -- minus Lassard.

LASSARD {0.S.> (continuing>

1t EXT. SUBURBAN MElGHBORHOOD -MORNING 1 1

A very quiet, very quaint suburban neighborhood just waking up to the morning sun. /l.YOUNGBOY on a bike delivers newspapers - tossing them towards the stoops: real Horman Rockwell kind of stuff. A paper hits the door of the first house and comes to a rest. A paper hits the door of the second house and drops to the steps.

At the third house, things aren't so quaint or quiet. A uniformed SGT. DOUG FACKLER is back out his front door, arguing with his wife. MRS. FACKLER, suitcase in hand, tries to shove past him and succeeds inknocxing off his hat.

But that's about all she gets out because as he bends for his hat, the newspaper arrives, sails over his stooped form and nails Mrs. Fackler in the gut. She GROANS, clutching her stomach and dropping the suitcase.

She lunges for the suitcase, They wrestle over it.

The suitcase opens, spilling its contents over the lawn. This stops the fighting for a beat.

tlRS. FACKLER <hurt and pathetic) I only want to join the forcn to be with you. We can ride together, wear matching uniforms, share ammo. All tlu~stuff that helps a marriage.

Fackler buys it. He bends to gather up his wife•s things.

(COHTIHUED)

Revised 8/30/85 7.

11 CO!lTIHUED: 1 1 ,...--···

Fackler drops her sweet act, pushes her husband head over heels, then races for the driveway where a police car squats behind the family station wagon. Fackler lunges, catching her by the ankle. She hits the ground with a THUD but undaunted and unharmed, tries crawling to tPe car.

_Mrs. Fackler stops struggling. Speaks calmly.

A relieved Fackler helps his wife up.

Suddenly, Mrs. Fackler bolts for the house slamming the door in her husband's face and locking it, Fackler proceeds to carry on a one-sided conversation with the locked door •••

While he's carr~ing on this conversation we•..

AKGLE on a window·at the side of the house. Mrs. Fackler appears, drops from the window to the ground.

MOVE with her as she does a military style belly crawl to the driveway, climbs into the police car and starts it.

WIDE as Fackler stops h!s monologue with the door the CAR STARTS. He races to the driveway and hurls himself onto the hood. The car SQUEALS away, lights flashing, SIREN BLARING.

CUT TO:·

Over Mrs. Fackler's shoulder we see her husband pressed against the windshield.

(CONTINUED>

Revised 8/30/85

11A CONTINUED:

Mrs. Fackler responds by turning on the window-wa~her

,.

and wipers. .,,.

We might mistake this £or ar'r°I~al-day:atsomeslightly seedy New England college campus:. l'rahoneygreets•car- loads of hopeful new· recruits;.::·g_oodb.yesareinterruptedby Tackleberry barking orders; J,onesand Callahan line up new arrivals; Hightower. directs,confused cadets. · An unsmiling Copel and·surveys·al 1 this•as~-.r

A BLOCK LONG LIMO

·swings to the curb. A heavyset'young man in. his early twenties hops out and contemptuously appraises the place. This is DANIEL HEDGES and he exudes arrogance. His CHAUFFEUR starts to unload lugg:.i.ge. .

HEDGES· (loud; snapping fingers> Hey! Hey, can I. geta little help with the bags here? · (crossing to Copel and) You, in the cub scout uniform, how about a little help!?

Hedges stuffs a few crumpled hi.11sinto Copeland's breast pocket, motions him to th~ bags •

(indignant> I'm a police officer. We can't accept gratuities. (looks at money) Kind of a stupid rule though, isn't it?! I mean•••

Impatient, Hedges grabs the money, turns to see •••

HIGHTOWER

at the curb.

..-.

Oh porter .•.redcap!

Hightower gives him a slow, sullen stare. Hedges indi- cates a row o! matching bags the chauffeur has placed at the curb.

Revised 8/30/85 9.

Hightower moves to the bags, clamps hold of all of them, hoists them up and calmly thrusts them on Hedges. Hedges topples and so do the bags •

(sitting amidst the bags) O.k., I think I can handle it from here. Yeah. Definitely. Definitely I can handle it.

A POLICE OFFICER sits on his cycle, strikes amatch to light his ciagrette. He looks up at the sound of SIRENS as something shoots past, blowing out his match.

P.O.V. POLICE OFFICER - A POLICE CAR

whizzing by. We may just catch a glimpse oi Mrs. Fackler behind the wheel. Mr. Fackler is hanging onto the hood for de~u:life.

BACK IM SCENE

two more police cars, and a motorcycle, all with SIRENS BLARING, trail the lead car. The motorcycle cop decides that whatever•s going on must be serious. He gives pursuit.

1lf EXT. A TWO LAME ROAD

MR. SWEETCHUCK peers through his bifocals at the highway as he PUTTS-PUTTS along on his noPED. This guy was born to be picked on. All the HONKING going on behind him is taking its toll.·

He angles onto the shoulder and motions for someone to pass.

CCOHTIHUED)

Revised 8/30/85 10.

"

11J CONTINUED: 1IJ

A BOY OH A BICYCLE

pedals past - gives him a dirty look.

SWEETCHUCK

swings onto the. roadonly to be immediately driven off by the SOUND OF SIRENS as the nrs. Fackler led entourage of police cars and cycles ROARS past. This time the moped hits the shoulder and keeps on going until it disappears into the woods. Sweetchuck's cry drowns out the SIRENS.

i

11 •

A bus swings to the curb and stops.

New cadets are bounding out of their seats, pulling geai from overhead racks. Hooks stands at the head of the bus with a clipboard in hand. She's trying to impose some order on this madhouse.

She stops. Ho one's paying attention.

AMGLE on the cadets, totally ignoring her.

ANGLE on Hooks. She sighs, then tucks the clipboard under one arm, puts two fingers to her lips and lets loose a whistle that's probably stopping cabs in Manhattan.

We HEAR an o.s. burst of l'IOVErlENT.

ANGLE on the cadets -very humbled and very quiet as they sit frozen at attention.

ANGLE on Hooks, all smiles and sweetness.

Recruits begin to file off. Mahoney nods and smiles ~ellos as if he were welcoming them to Club Med, addressing them through an aloctronic bullhorn.

<CONTINUED>

Revised 8/30/85 12..

MOVE with the recruits to •••

JONES

back to us, also speaking through an electronic BULL HORK.

He turns around revealing just his hand to his mouth - no bullhorn.

He starts to lead them off with a manufactured DRUM ROLL

lt

but is brought up short by•••

LOUD SIRENS. Lots of them.

17A lH THE PARKING LOT 17A

Mrs.-Fackler brings the police car to a halt. The four * trailing vehicles SCREECH to a stop. She hops out of the "'

,.

car covering her ears. The police.are out of their cars

lt

- confused and angry.

She tosses him the keys and crosses the parking lot.

We see enough to know that this is a soaring chrome and * glass hi-tech eyesore accompanied by a hi-tech ~IUSIC * STING.

,.

Revised 8/30/85 13.

We can't tell too much about the academy at first because we are CLOSE on Mauser appraising something that pleases him.

PULL BACK a little t~ discover he is walking down a line of men at rigid attention. This line-up is enough to convince you that cloning is here to stay - every one of these guys looks like a member of_some super Aryan race.

Lt. Proctor walks at his side mimicking the head nodding gQsture, checking names from .aclipboard. _

Suddenly, Mauser stops. Where there should be another 6'2" storm trooper specimen is a gap.

Mauser slowly looks down. He is not happy.

P.O.V. MAUSER - TOMOKO KOGATA

who is a sore thumb in these surroundings. He's 5'3" and definitely not l,lASP.·

BACK IM SCENE

Mauser's expression tells Hogata he's picked the wrong phrase. He digs through the hook again.

Irritated, he drags his assistant away.

(COHTIHUED)

Revised 8/30/85

t9A CONTINUED:

A confused Proctor fumbles through his papers.

l'IAUSER (pointing out Hogata) . ··· Him·,youidiot!

l1AUSER Hot my methods. You think I'm running. theU.K. here? Ship him to Lassard's. He'll fit in there.

Proctor runs off to taxe care of Nogata. As Mauser watches the little man being pulled off the line, THE BAXTER BROTHERS, two huge jocks who left their brains in a locker, drop .to theground in front ofhim and start doing rapid fire push-ups. Mauser looks a little taken back, The men pop back up to rigid attention.

Mauser gives them a nervous s~ile of appreciation and moves on.

'Revised8/30/85 15.

Jones leads the HE~l RECRUITS in a little HUT - HUT march. He stops as he HEARS aBALL BOUNCING then what sounds like a crowd cheering.

P.O.V. JONES -TOMMY

11ahoney'sphone answering assistant. He's dribbling a basketball ~BOUNCE BOUNCE - shooting - SWISH - and getting a big CHEER. There is no ball, net or crowd so the kid is manufacturing all the sounds as he plays.

BACK IH SCEHE

Jones watches him ·dribble his i111aginary ball,prov i cling the sound of the crowd. Blanks has joined him.

:BLAHKS What's he doing?

,. JONES Playing one on one with Dr. J.

Tommy and Jones_ appraise Blanks .as1:£he's crazy.

Tommy goes back to his game.

As Blanks bends to pick up Tommy's sweatshirt, Jones produces the SOUHD OF RIPPING MATERIAL. With a start, Blanks straightens up, grabs his ass to find and cover the rip. He's getting strange looks from the recruits.

Blanks can't see behind him, stumbles, and with his hands still clamped to his ass, does a full somersault, hops to his feet with contrived dignity, and storms away.

Revised 8/30/85 16.

A pushy MOTHER prods her timid daughter, SARAH, towards

CALLAHAH

back to us, arms akimbo. Even from behind she looks hard.

Callahan turns her sunglassed stare on the -two. The girl cowers back.

SARAH

Well, yes••• I •••

Sarah's lips move like she wants to say something but her mother doesn't give her a chance.

Callahan's had enough of this. She puts fingers to her lips and WHISTLES the conversation to a stop.

,,lle~ised8/30/85;}i~{l;;:• .,

' Callahan pimct·uatJ~thi~·by gesturing exactly how big these brass balls will be,.then leads a wide-eyed Sarah out of FRAME.

,. '·.: . Tackleberry.is eil:gage_din uncomfortable conversation with -his·.father-in-law.·•:•.MR..KIRKLANDandhis brother-in-law,BUD.

·.:•: :::./:·;·:,,,_:··

,·screws.1ipyou .!Jivehima good whack.

:~e'a~~~nstrates this bY.giving the kid a swat on the head • ...,..The,,kicldr.opslike.a sack of rocks.The father thinks it's

'Bud·1s up··and..atthe:driver'sside window.

The father gives an 'aw shucks.• shrug.

Now it's the kid's turn to go 'Awshucksy'.

With that Bud nails his father with a soliir right cross that drops him out of view beneath the dashboard. Elated, Bud hops back as the car starts weaving down the drive, the father just coming into view, waving out the window.

Tackleberry's definitely questioning the kid's sanity.

CUT TO,

as it SHUDDERS to a halt.

IH THE BACK SEAT

Hogata is thrown violently forward, disappears on the floor.

<CONTINUED)

Revised 8/.30/85 18.

22A COHTIHUED: 22A

The CABBIE, a guy in a T-shirt that must have been used to wrap Fatburgers, smacks his meter so numbers start twirling like a slot machine.

Hogata crawls back onto his seat, fumbling out American and foreign currency. Hands a fistful to the eabbie.

23 KAREN HOOVER 23

a new recruit who may not be out and out beautiful but she's damn close. At the moment she's dragging a large suitcase across the parking lot. She reaches ••.

KOGATA

~nd the cabbie. They are out of the cab, and Hogata is piling money into the cabbie's hand. Kogata takes off a shoe and finds more money which he starts to count out .

• KAREK

looks-concerned. Crosses to Hogata.

AHGLE on Mahony who spots Karen and likes what he spots. He crosses to the cab where a full scale altercation's going on.

Revised 8/30/85 19.

23 COKTJNUED: 23

(indicating cabbie then Nogat·a> This guy's trying to rip of£ this guy.

NOGA'fll. Rip off?! (searches phrase book)

MAHONE'l (to cabbie) Is this true, sir? Oh, and by the way, may I have the name of your laundress?

..CABBI'E Look. wise guy.don't think a blue uniform scares me.

l'IAHOKEY (a heat; smiles sweetly> Oh, Hightower! Hightower!

ANGLE on Hightower talking to some recruits. He turns. and heads towards••.

MAHONEY

who points to the cabbie.

The cabbie gets nervous as Hightower appears at his side.

Hightower reaches into the cab, rips the meter off the dash and shakes it violently in front of the cabbie's face. The fare comes up .70 cents. Hightower smiles and hands the meter to the cabbie.

As the cabbie scurries back into his cab, Mahoney pulls Karen aside.

(COHTIMUED)

Revised 8/30/85 20.

23· COKTIMUED: (2) 23 ,...,.--.

MAHOHE:Y You're kidding! Karen Hoover ••• (checks clipboard) Ne're roomies. I'll get you settled in. You can take a · shower, slip into something smaller•••

He reaches for her bag but she grabs it away.

l'IAHOHEY (mock anger) Other guys have been hitting on you!? How that burns my buns!

Karen ignores him, as she drags her bag away.

MAHOHE:1'. (shouting after her) Who is it? Lassa.rd? Cbea:t} Believe me, these May, December romances never work out,

Lassa.rdswings his golf cart up to Mahoney and drives in circles around him.

~ahoney doesn't have time to agree because•••

' :H(:;~;ft;ff;/ti '.+Iti~ir.i:::.-

23A ::: ':::,:;::/8S -· ;?l:ililli:S/ .. '~[-, I''':~

Where Sweetchuck anaJ;is moped limp towards the:~ir.dular drive. And ROARING:.up behindhim ·_comes•••

• ;,·. •'....'/!:.':: •••••i"......:,··.••

l'fAX ......:....:,~

·:..•.....,_

on a motorcycle.the size of.Rhodi-Island. l'lax·1ooks like he spen4s.his nights·robbi'~g·7-11's.

_.:·t/··_......;...-:.·.•.•·..-·,~:~~-!~-r~,.··

MOVE".withhim as he swings'up;'b.esideaterrified Sweetchuck, · ;-:_,.

·.MAX. -· -,(screamslikea. -·:··...madman) ~:,:.· I H'\TEYOUR. BIKE!. -

Sw~etchuclr·trie!Ito·keep-hismoped i:i~d~rcontrol as Max swerves towards him, laughing•. · Thelaughter will be short lived· becausethey•.r.eheadingstraight for •••

:~ .

23B THE FLAGPOLE 23B

and the cente·rIsland 0£ grass displaying flowers and ·the school emblem.

We can tell by their SCREAMS OF TERROR that Max and Sweetchuck have both lost control •. Their cycle and moped

the lip 0£ the grass island. Riders and hikes separate.

23C MAHONEY AND LASSARD 23C

1,1howatchin wide-eyed disbelief and horror because •••

23D MAX AHD SWEETCHUCK 23D

land in rapid succession spread-eagle and face first into the £lower bed; followed by the cycle and the moped which drop beside them from out of the sky.

as they survey the scene.

Revised 8/30/85 23. "'

IMT. HALLWAY - DAY

Crowded with cadets carrying bags and supplies. Max and Sweetchuck converge on the same door hut can't see each other over the pile 0£ junk they carry. They collide in the doorway. Sweetchuck is about to get mad until he gets a good look at tfax. He SCREAMS. His SCREAM startles Max, who also SCREAMS.

Sweetchuck backs into the room, stepping up on the £irst bed and cowering against the wall.

l'IAX (tossing stuff on second bed) Okay••. I'll take this one.

<CONTINUED>

Revised 8/30/85

Get used to it.· He's your roommate.

.. CALLAHAN ·l'lax·•sreformed.

·.MAx· Yeah! I used to be with Zed's old gang. But we had a crises of leadership.

:r T'IA.X I •.• Ibeen in therapy. It .•• it helped get rid of my hostilities. I had too much angst. (beat; in the same tone) Don't call me an animal or I'll rip out your spine and slap you across the face with it.

26A.

' 1; :::'.•:~:;::;•;!ELD · DAI 25A

,.:;,\:Callahanand Hooks.

TRACK with Callahan as she marches up the ranks prod- ding them on as they do a toe touching-exercise.

HEDGES

is a victim 0£ inertia. He touches his toes but keeps

BUD

is like a windmill, throwing his arms around cadets have to duck and dodge to avoid losing their heads.,,

NOGATA

however, has things under control - exercising with clockwork-like precision~.

MAX

has a cigarette dangling .from--his. mouthashe stands watching Sweetchuck GRUNT his way through the exercise.

WIDE as Callahan turns to walk back down the line of cadets. Lassard comes bounding towards her on his golf cart. He slows as he nears her.•

Mow, Lassard hasn't actually stopped. He's gone past shouting back over his shoulder.

And Lassard and hi'sgolf cart disappear over an embank ➔ ment. All that trails back to us is a protracted •••

Callahan shakes her head and turns to the gawking cadets.

Revised 8/28/85 27.

FADE IN:

Skyscrapers jut into the night sky. Over this appears:

THE STATE, IH AH EFFORT TO CUT COSTS, IS ABOUT TO CLOSE ONE OF ITS TWO POLICE ACADE~llES. 'WHILE MOST MEMBERS OF THE POLICE DEPART- MENT VIEW THIS AS A LOSS, THERE ARE THOSE FEW SELFISH MEN WHO VIEW IT AS AK OPPORTUNITY.

(TITLES begin in the same style as POLICE ACADEMY I and I I •>

Dark. Wet. Deserted, except £or the STREET SWEEPER lumbering towards us. Only someone up to no good would be out on this street.

In the f.g., a car SQUEALS around the corner and heads towards us racing through a large puddle of cruddy water that splatte~s the street sweeper.

25C

This same non-deseript car appeas on another ominous looking street - its TWO OCCUPANTS indistinguishable silhouettes. The car slows••• searching forsome.thing ••• then swings intoa•••

26 lHT. GARAGE - NIGHT 26

The car's headlights sweep the concrete walls as it negotiates the twists and turns of a subterranean garage entrance ramp. The car s·lowsfor a, ••

CLOSE on the driver's window. It slides down but all we get to see of the driver is his trench coat clad arm. It shoots out at the same moment the LOT ATTEN- DANT'S arm shoots into FRAME. The driver plucks the ticket from the attendant's hand. The window slides up. The car pulls away.

Revised 8/28/85 28.

The car's headlights snap off as it glides int.oa spot.

The two occupants are paranoid; wearing dark glasses, hats pulled down on their heads, a trenchcoat with up- turned collar and ducking down in the seat as an exiting car swoops past. They slide out of the car, shutting the door with a soft CLICK that makes them flinch. As they tiptoe away, th~ driver is jerked to a sudden stop. He strains forward and we hear a RIPPING noise. He's just left half his trenchcoat in the closed car door,

We may recogniz~ these t~o as they go back to sneaking around the garage - it's COPELAND and BLANKS. Toknow them is to want to plant a kick firmly in their crotch. But for now, we'll just MOVE with them as they stalk around cars - slink throug~ shadows. ·

FRO~!UNDER CARS

,~ehave a TRACKING SHOT of their feet. These are tense feet - sneaky feet and then, uncertain feet as they stop suddenly, turn and collide into each Qther:

ANGLE ON BLANKS AND COPELAND

looking around. Furtive.

Copeland's getting worried. He leans through the open window of a car and BLASTS THE HORN. It's painfully loud.

He BLASTS THE HORN again as, suddenly, MAUSER and PROCTOR, hands clamped to their ears and grimacing in pain, leap from behind a pillar.

(CONTINUED>

Revised 8/28/85

27 COHTINUED1

Startled, Blanks and Copeland practically jump into each other's arms.

Mauser rolls his eyes-heaven1o1ard.Shakes his head.

Blanks and Copeland look at each other. Confused.

Which one?

Revised 9/11/85 29A.

27 COHTIHUED: <2) 27

BLANKS & COPELAND (proud; in unison> That's us! Definitely, that's us!

Proctor hesitates.

l'IAUSER (sarcastic> Good idea. Besides, I'm in a hurry to pick up my decoder ring. (Mauser turns away)

A beat.

27A BLANKS• CAR 27A

swinging up the exit ramp. The car stops abruptly as it comes face to face with a metal gate blocking the exit.

Copeland HONKS the HORN. Ho response. He hops out and *

a

goes to the gate leaving Blanks in the car.

Ke tries sliding it open. Bit by bit it moves. He's really struggling with this thing and he's almost got it when he glances at his car to see ...

P.O.V. COPELAND -CAR

starting to slide back down the ramp••• pickingup speed as a frantic Blanks lunges for the wheel.

(COHTIHUED>

Revised 9/IJ/8S 29B.

BACK IM SCEHE

Copeland is so startled he lets go of the gate. Instant- ly it snaps shut, pinning him to the wall with a LOUD THUD. He only has a second to lament his fate, because the neKt thing 1~ehear is the unmistakable sound of Blanks " SCR£ANING and a car CRASHING INTO CEMENT. Hold on Copeland's beady little eyes darting back and forth while t he remains pinned to the wall.

ROOl'I-HIGHT. 28

·.CLOSE .onSweetchuck, asleep. His eyes flutter open. He ,senses _Sol\\ething•••tuz:nsslowlytocome face to £ace with ..·.-.·•::

"'

:,·YEtPS.. Jumps back.

,Swli!etchucklooks horrified, pulls the covers tight over his butt.

..-. SWEETCHUCK

(turning away; ·.tryingto get comfortable) Well, I'm not a night person ••• I'm a.normal human being.

ANGLE on Sweetchuck. The room is quiet. His eyes start to slide shut. He may actually get back to sleep but then - BONGOS the LOUDEST DAMN BONGOS we've ever heard. He sits up instantly, eyes wide, groping for the light•.• to reveal Max pounding on a pair of bongos doing a little DAY - 0, DAY ~ 0.

l"IAX (shouting) What kinda music you like? John Cougar.Melancamp or Duran Duran?! -

A door swings open and an angry Blanks and Copeland look out into the hallway.

Revised 9/lf/85 31.

..;·.'

29A MAX'S ROOM 29A.

l'laxpounds away. Sweetchuck lies on his back, eyes wide.,· open, staring straight up at the ceiling.

Blanks and Copeland enter.

We hear Sweetchuck protesting (o.s.), then Sweethuck, Max Copeland and Blanks appear in FRAME. Stop. Copeland hnnds each of them a flashlight.

Blanks and Copeland storm off.

Sweetchuck spins around, angry but lets out another YELP. Max's making a distorted face and holding the flashlight under his chin. We don't blame Sweetchuck for YELP ING.

Blanks sleeps and Copeland sits at the window watching the flashlights' beams sweeping the grounds. MaK and Sweetchuck must be on speed because those beams are rac- ing around in frantic circles. Copeland looks at Blanks, at the beams, at Blanks. He's nervous about waking him.

..

Revised 9/IJ/85 32.

Max sleeps on the grass. Sweetchuck is watching something. He shakes Max awake.

We PAN in the direction he's pointing to discover .••

TWO DOGS

each with a flashlight attached to their collars. They are chasing each other across the field••• into the road. We get the idea that the chaser would like more than a casual relationship with the chasee.

ANGLE ON Max and Sweetchuck.

We're looking out the window at the two dogs but all we see are the flashlights. And those two flashlights are going through some strange gyrations out there. Blanks still sleeps but Copeland is both fascinated and con- fused by what he sees.

He peers auain. How he's convinced. He jumps up.

Blanks jerks awake, wide-eyed.

Revised 8/30/85 33.

Where Sweetchucl< is doing his best not to watch. Max seems sort of hypnotized though; then •••·

A PIZZAS R US DELIVERY TRUCK

is coming up the driveway.

THE DRIVER

is a little sleepy behind the.wheel but something's c;aught his attention because he_•ssudden!y alert as we ••.

35 IHT. BLANKS' ROOM 35

Blanks has his uniform jacket on and a pistol in his hand. Copeland keeps vigil at the window. Blanks looks out just in time to see the truck headlights barreling down on the flashlights. The SOUND of SCREECHIKG TIRES reaches them •••

As both men race from the room, we linger on the window long enough to see the two flashlights race 0£! across the field.

36 OMITTED <Was - Int. Blanks• Office) 36

The cadets stand at attention as Blanks paces in front of them. Behind Blanks, lined up at parade rest, are our heroes. And Copeland.

(CONTINUED>

Revised 8/15/85 31f/35.

37 COKTIHUED: 37

BLAllKS (glaring at Sweetchuck) Some of you have shown a lack of discipline and dedication, so some of you will remain whimpering, si~pering, civilians. Some of you•••

Blanks snaps his finger in the direction of Copeland who steps forward and spits out each letter as he spells •••

(COHTIHUED)

37 COKTINUED: <2 > 37

Smoke is about to start coming out of Blanks' ears but M~honey intervenes.

nahoney gestures at his fellow officers; Hightower, Jones, Hooks, Tackleberry (maybe he wipes a tear from his eye but it's hard to tell with those mirrored shades), Callahan.

IMTERCUT between Mahoney and this group -everyone e~cept Copeland moved by his words. Copeland has the kind of smug grin on his face that's just begging to be slapped off.

This gets a spontaneous cheer from Hightower and company. Copeland shakes his head until Bighto1Jer glares at hi!I\- then he starts applauding feverishly.

(CONTINUED>

Revised 8/30/85 37.

37 CONTIMUED1 (3) 37

AHGLE on Karen who is obviously rnovedand impressed bv Mahoney•s impassioned plea.

ANGLE on Blanks who is just as obviously not impressed.

CUT TO~

Lassard stands at the window. In his hand he has one of those little clay houses used to decorate fish tanks. He has been observing this scene and is touched. He moves from the window to his desk.. As he does, he finds that

to pry it off•. No dice•. He sits, leans close to the goldfish bowl and speaks to the fish.

(still trying to · pull off house) ·n'.id·youhearthat? Ho. No, of course. not. How silly of ~e to ask. (picks up bowl} You're too far from the window.

Lassasrd, with,the house still attached to his finger, carries the bowl to the window.

The cadets are dispersing but Karen lingers, waiting for Pia.honey.

l'IOVEwithher as she falls in beside him, Mahoney does a little start as if he's afraid of being hit again.

~S THEY WALK

rlahoney stops abruptly. He is dumbstruck.

l'IAHDHEY Trying to be cute ..,trying! Listen, on ·acuteness scale of one to ten, ten being the Smurfs, I was a ten! And I won't accept your apology unless you accept mine.

They start walking again, passing beneath Lassard's office window.

l'IAHOKEY Good. It was just that ••. well, haven't you met someone and after ten minutes felt like you'd known them for two, maybe three days!?

KARtN (laughing) No, but I've felt like I'd known them ten minutes.

Mahoney doesn't get a chance to respond because he hears •..

LASSARD <o.s.) (shouts) Mahoney!

We discover the problem with Mahoney.

P.O.V. MAHONEY - FISH BOWL

dropping from the 1,1i.ndowinSLOl~MOTION.

BACK IH SCENE

Mahoney takes two steps, positions himself, a beat, and the bot~ldrons into his arms b:uely losing a drop of ,~ater. He's·done this before. He calmly turns to a wide- eyed Karen.

MAHOllEY You know, some of my best times only lasted ten minutes.

Cadets stand at Parade rest in front of two squad cars. Behind tham ue see a driving obstacle course. Hooks addresses tlu,im.Jones stands beside her.

ltO

:',.

CLOSE on Karen, tightly clutching the steering wheel and s.taring_intently ahead. She's nervous. Karen flinches _at th8 SOUHD of TIRES SQUEALING, CARS COLLIDING, GLASS. AHD METAL SHATTERING. We're convinced she's just been

PULL BACK to reveal Jones sitting beside her and provid- ing the.sound effects.

lf2 INT- ANOTHER POLICE CAR 42

MaM is behind the wheel and Hooks is beside him. She's about to hand him some keys .••

l'IAX Ah, that's no problem.

With that he ducks under the dash and reappears with two wires. As Hooks looks on, Max touches the wires against * his teeth and an electric current jumps from one wire to the o·therwith Max inthe middle. It looks kind of like * the reviving of FRA.NKEHSTEIK'S MONSTER.

The car starts and .•.

••• leavesa patch of rubber as it explodes off the line.

43 EY.T.DOG KEHHELS - DAl

Hightower, flanked by two GERMAN SHEPHERDS the size of Chevys, walks in front of the assembled cadets.

ANGLE on Bud as he reaches to pet a passing dog.

We HEAR an O.S. SNARL and Bud leaps back, minus the sleeve to his sweatshirt.

WIDE

as Hightower, still talking, stops, pulls a tattered sleeve from one of the dogs, tosses it to Bud.

HIGHTOl~ER But first it is important to develop the master-dog relation- ship. If you show fQar the dog

Hightower motions Sweetchuck off the line.

Sweetchuck is nervous about this.

This trigger!lsomething because both dog:i leap at Sweetchuck, pinning him to the floor to slobber kisses over this Iace.

Higl1towerturns to the dogs.

(CONTIIWED)

Revised 8/15/85

43 COliTIMUED:

In unison and fast, the dogs and all the cadets sit then look up at Hightower for their next command.

:t

Establishing shot.

It's strictly sterile hi-tech: white walls, metal desk ~1ith desktopcomputer and a bank of video monitors. Mauser is showing Commissioner Hurst the monitoring system. Proctor hovers at Mauser's shoulder. The monitors broad- cast centers of activity - the gymnasium, a classroom, an athletic field.

rlAUSER You see sir, this gives me instant access to all my cadets and instructors. (makes a "watch thisn gosture)

Over Mauser's shoulder we see a monitor pick up a cadet at a hallway water fountain.

OH SCREEK

the startled cadet looks up, nailing himself with a spray o! water. He's really shaken as he searches for the source of the voice then hi ts the £l oorfor push -ups.

BACK IH SCENE

A cartoon appears on the screen.

Revised 8/30/85

"

IJS COKTIHUED:

Mauser snaps off the monitor. Glares at Proctor.

.. HURST (cutting him 0££) You're chapping your lips on the wrong butt, Mauser.· I _have no say with the Gommittee. :And I want both Academies to look good.

Oh. so do I. So do I. When might-the Committee be coming?

Mauser's reaction tells us this piece of information intarests him. The Baxter brothers enter the room and stand at attention.

They immediately drop to the floor and start doing one handed push-ups.

(COHTJHUED)

Revised 8/30/85 44.

45 COMTIKUED: (2)

Hurst gives Mauser a, "Are these guys nuts?", look and tries to exit around them but finally has to time a leap over them on a down beat.

CUT TO;

For abeat, the FRAME is empty. Then Jones, dressed in a white smock with.a black belt, flies into FRAME with a fierceKARATE SCREAM. How·,when Jones goes through the following exhibition, he produces all the out of sync Sl'IACKIHG,SLAPPING and CHOPPING SOUND EFFECTS. The whole thing has the aura of a SHAW BROTHERS' KUMG FU MOVIE

Jones soars through the air, throws a karate kick and does ·a CHOP CHOP moye with his hands, punctuated by •••

Jones has more hang time than Dr. J. ever dreamed of. In £act, he's suspended in air long enough to discover •••

THE CADETS

viewing this exhibition open-mouthed. Some of them are armed with street weapons,

AHGLE on Jones who lands and in rapid-fire procession •••

CHOPS a broom stick held by Karen into pieces, does a double flip ending up with a kick that splits a two-by- four held by a nervous S14eetchuck. SLASH, he splits l'lrs. Fackler's bike chain, spins and takes out Hogata•s base- ball bat, then ends by cracking cinder blocks stacked at the edge of the mat, with his head. All of this is punc- tuated with KUHG FU CRIES and things like ••.

Jones turns to the group with a deep oriental bow.

Revised 8/30/85 lit

lf6A COHTIKUED:

THE GlM - LATER

Cadets practice a karate move. They step out with the leit leg and punch with the.left arm. The move is accompanied b!,'ascream of "AYE YAH!" that is totally out of sync. Jones nods his head enthusiastically.

ANOTHER PART OF THE GlM

Callahan watches Nogata pick up a wooden board, study it, close his eyes, crack the board with his head then calmly walk out of FRAME. Callahan is impressed. She exits FRAME to follow Nogata.

A beat. Blanks steps into FRAME glaring after Hogata. He picks up another board. Looks around. Satisfied every- one is occupied, he tries to break the board with his head but instead almost manages to knock himself out. He staggers out of FRAME.

A beat. Max steps into FRAME, Picks up the board. Looks around. Slips on a pair of brass knuckles and proceeds to pound on the board until itcracks. He gives a little self-satisfied shrug of the shoulders then steps out of FRAME.

AKGLE on Callahan crossing to Hogata who is being shown a kick move by Jones. Callahan comes close to Mogata which places her breasts at about his eye level - some- thing Mogata does not fail to notice.

Mogata is uncomfortable with the praise but not so uncomfortable he takes his eyes off Callahan's bust.

<CONTINUED)

IJ6 46 t...

Please,, it is just a matter of the mind being mightier than the bosom.. ·

·Kogata-see111s··unaware·,-0£:his mistake.If-wecould see Calla~an's eyes through her shades,she might be glaring at Hogata, but we can't be sure.

,,.:·.:CALLAHAN ·Interesting. theory. <t1.1rnsandwalks awa.f.~

·. A beat.With growing panic,_Hogata :realizes what he's done.

..... KOGATA

·.I meant no disrespect•••it•s just •• , , oh!Whata woman!

To prove that, we AHGLE on Callahan who puts her fingers to her lips and lets out a DEAFENING WHISTLE. All activity stops as cadets cover their ears in pain.

The cadets file past the various gym equipment as they exit. Bud passes a HEAVY PUHCHIHG BAG suspended from the ceiling and gives it a vicious shot. The bag swings out of FRAME.

Sweetchuck walks by just as the bag swings back into FRAME, hitting hi!Qfull force and knocking him out ofFRAME.

47 IHT. LOCKER ROOM

Cadets finish dressing, exit. Voices trail back to us, then we are alone in the quiet locker room as a locker door opens and Sweetchuck peeks out. Certain the coast is clear he steps from his locker wrapped in a towel and carrying what looks like the largest roll of SARAN WRAP we've ever seen. He tiptoes through the locker room.

Revised 8/30/8S IJIJB.

' IJ8 IKT. THE SHOWERS

One of those open affairs with shower heads mounted along the wall. It doesn't afford much privacy. Sweetchuck plans to provide his own because that's no roll of saran wrap - it's a plastic shower curtain mounted on a curved shower rod. Sweetchuck fastens this with suction cups to the wall.

Sati-sfiedit's secure, _hi!takesa furtive look around and slips into the shower. We slip in with him to play PSYCHO SHOWER SCENE: Hare's Sweet.chuckwashing merr i1y away and there•••over his shouldei is someone stalking hilll•.• obscured by the curtain and getting closer as the,PSYCHO MUSIC starts •••Sweetchuckscrubbing ••• theshadowy hand reaching out •••theMUSIC LOUDER .•. the curtain pulledback•••

CLOSE on Sweetchuck as he SCREAMS ••• reachesfor the cur- tain, slips •••SNAP,SKAP, SNAP, the curtain rings pop and Sto1eetchuckfalls,tangled :inthe curtain as.he looks up.

P.O.V. SWEETCHUCK - MAX

peering down at him, bongos tucked under one arm.

(COHTIHUED)

Revised 8/30/85

COMTIMUED:

l'IAX How about this one? (pounds bongos; sings) •Splish, splash, I was taking a bath •••"

Cadets play pool, ping pong, watch T.V. and compare their aches and pains.

·.

Bud sits glued to the T.V., using a remote control to flip through the channels.

Tackleberry appears in the doorway, surveys the room. Checks his watch. Enters. He's standing so we can see and.hear the T.V. set behind him.

The cadets begin to file out of the room, Tackleberry nodding pleasantly, Behind him Bud changes the channels and we HEAR •••

••• followedby GUNSHOTS.

Tackleberry quick draws his pistol, spins and shoots out the T.V. The cadets hit the deck - hide behind furniture. Bud turns in his chair.

50 IMT. DORMS -HALLl~AY - HIGHT 50

All is peaceful, all is calm. Blanks strolls down the hallway. Checks a few rooms. Nods. Satisfied. He stops beside an alarm box at the end of the hallway. Smiles. Pulls a switch. Lights start flashing and an ALARM BLARES. EKhausted cadets tumble out of their rooms.

Revised'S/30/85 116.

S1 EXT. CITY STREETS - HIGHT 51

The cadets run along the streets •••a lot of GRUMBLING going on. A squad car trails behind them: A message blares from its speaker.

COPELAKD CV.0.) Let's go maggots. The good cop is always prepared. The good cop knows the city streets.

52 IHT. POLICE CAR 52

Copeland drives and speaks through a microphone and Blanks snores in the back seat •••

The cadets drag themselves to their rooms.

IKT. HEDGES' ROOM SIi

Mogata drags Hedges into the room because his legs aren't s doing much to support him.

Hogata teleases Hedges so he can pull some of the junk off the guy's bed. Hedges sways, then belly flops onto Mogata•s bed. A beat. Hedges SCREAMS, slides onto the floor, pulling the sheet with him to reveal that Nogata•s mattress has been replaced with a bed of nails.

S5

A disgrun~led Swectchuck struggles down the driveway with his suitcase. Suddenly, a shadowy figure drops from a tree into his path. Sweetchuck staggers back in fright as Tackleberry, bare chested, wearing a headband and grease paint on his face, blocks his way. While they talk, we hear the annoying BUZZ of a MOSQUITO.

<CONTINUED)

-----·· - ...-----

,

Revised 8/30/85

5S CONTINUED:

··:,·.&6SWEETcinicK lt!s me••·-~-it•:s··sweetchuck.You're giving.me·a Jreart•att~c._k'..!!ere.

Goi.ng A.W.O.L.?:l .-· ...·..:~.:... .:

Tackleherr~/shoos the ~osqui-t<rZ~i.I~y'Itwon•tquit.

.. ,"'.~::, . (< :, SWEETCHUC:K- Aiil.Ileaving?·Yes! Quitting? •Yes-!:.I.. can't takeanymor.e!I· was.happier at hoinebeing mugged •. ...· . .·, . . .

Tackleberr·vra.m.ovesa.largepiec~ of'paper from his back pockat.· ~e starts ·tounfold it,:· ·

·. Look .this.man.inthe eye and · iell-:'ril1119ou•r~,quittin9!

With a drJ~itic ·r1ourish,he re~eals a poster of RAMBO.

.. .TACKLEBERRY ·.(dead serious) Give me the chance ;ii,ndI'll turn you.into a man. Or k i11 you trying.

The mosquito has gotten to Tackleberry because he sud- denly pulls a knife from his boot and lets it fly. We hear the knife hit the tree o.s. and the abrupt and loud end of the mosquito's BUZZING. Tackleberry puts an arm around the wide-eyed Sweetchuck and leads him back to the dorm.

CUT 1:0:

Only we don't know that at first because we are PANNING that humorless-lookin_ggroup known as the Evaluation Com~ittee. As we Pan we hear .••

Then we.••

(CONTINUED>

Revised 8/30/85 lf8.

56 CORTIHUED: 56

ANGLE on Tackleberry doing what we've seen McGarrett do a hundred times on HAWAII 5-0: Tackleberry approaches a demo-door set into a stage flat from the left. With his pistol held straight out, he kicks the X spot on the door. As it opens, he falls against the wall to the right of the door, swinging the pistol up close to his face. A beat, then Tackleberry brings the pistol down, leaps into the open doorway and £ires.at a target shaped like a man. Tackleberry turns around and we go•••

to discover the rest of his audience includes the cadets and,. on the.,si_delines_,l'lahone!r',Lassardand Blanks.

, TACKLEBERRY Cto cadets: serious> A good kick.may be all that stands between you and the eKcruciating pain of a .357 Magnum slug shredding your vital organs.

Hedges has heard all he needs to hear. He's read!!'to go.

Callahan grabs his shi_rt£ront and shoves him back down.

Tackleberry motions to Sweetchuck. points to the door. Sweetchuck moves to the door. spins so his back is to us and kicks viciously at the door. A beat. The door doesn't budge. Sweetchuck is frozen in place. Then, tike a slowly falling statue, he topples over and drops out of FRAME.

AHGLE on Lassard who glances nervousl!r'at the Evaluation Committee. It's hard to judge what they're thinking.

l'IAX

moves to the door playing this out as if he were breaking into an apartment. He lights a cigarette. looks around ner.vously,then spins to the door.- But instead of whip- ping out his gun and kicking, he pulls out a piece of pl,,stic"nd jimmies the loch open. He stands up proudly only to blow smoke into the face.of an angry Copeland. He grabs his cigarettes and lighter.

HEDGES

swings off the wall and kicks. While he doesn't open the door, he does manage to kick a hole through it and bury his right leg in the door up to his crotch.

<COKTIKUED>

Revised 8/30/85 119.

:t

HOGATA

walks quietly up to the closed door. He stands and stares at it,eyes wide and intense. Slowly the door swings open as if of its oun volition. He steps out of FRAME.

MRS. FACKLER

kicks the door open but forgets to move away. The door swings back and nails her. A beat, then Mrs. Fackler gets her revenge, pounding and kicking on the door until Callahan steps in and pulls her out of .FRAME.

BUD

swings around to face the door but instead of just kicking, he opens fire at point-blank range.,then kicks what's left 0£ the door. When the door. swings open,he fires on the

r

target •••CLICK •••CLICK ••• nomoreammo.

THE SIDELINES

Lassa.rdseems confused.

Mahoney sparks to this.

MAHOHE'l HO. But neither's running the cadets at three in.the morning.

(CONTINUED>

·--,--S&:::,....."CORTIHUED.(3) 56

•:/;'.~,:-❖-<:+Both11\ensalute Lassard.Lassard starts to returnthe ::;!/:(salute but catcheshimsel! and nods instead. Nhen he ·:turns· andwalks away. we discover why he did not salute: : The clay goldfish bowl house remains stuck to his finger. "· Hands behind his back, he passes the Evaluation Committee. Their he"adsturn in unison as they witness his struggle to re111oveit.

·.. 57. EXT. CITY STREET - KIGHT 57

Establish.ingshot of a row of buildings that house small stores - jewelry shops, appliance shops and walk up ·apartments.

,'

Two shadowy figures crouch.behind an air duct. They tenses as the door.to the roof opens and •••

AKGLE on·Mauser and Proctor stepping onto the roof. Proctor looks around, pleased.

l'IAUSER (disgruntled) Whose bright idea was it to meet

(sarcastic) ~••and Mr, Sandman flying from house to house.

rlauserlooks at Proctor as if he's way short of a !ul 1 load.

The figures step out from behind tlieair duct. A flash- light snaps on and Mauser and Proctor cover their eyes, recoil in pain. Mad, mauser grabs !or the flashlight.

He turns the light on Blanks and Copeland. In £act, dur- ~ ing the entire conversation he keeps them squirming under • the flashlight beam.

<COHTIHUED)

Revised 9/IJ/85 SOA.

58 COHTIKUED: 58

Good! How~ next week I want you to take the cadets for a little downtown field work.

l'lAUSER J doubt it. But I'll be there when Lassard's guys screw up. You just make sure-they do screw up. Now let's get out of here.

Mauser gives Proctor a dirty look, shakes his head.

tlAUSER {disgusted) See what you started? Go ahead 007 - get \uuout of he·re.

The three head for the door.

The door slams shut, leaving Mauser alone. A beat. He crosses to the door, pulls on it, but it won't open, With mounting panic he tugs then pounds on the door.

<COHTIHUED>

Revised 9/'1/85 51/52.

58 COKTIKUED: C2) 58

MAUSER :t (shouting) X Hey! Hey the damn door's locked. Proctor! Somebody! <no response> Great! .What next!?

And the answer to that is supplied by a CRACK of lightning and the start of a monsoon. Mauser is instantly drenched. He pulls on the door again. Suddenly he hears a BURGLAR ALARM. LOUD, He races from one side of the roof to the other looking down. He doesn't like what he sees.

P.O.V. l'IAUSER-BURGL/\RS ·

fourstories below, racing from the jewelry store with sacks of loot. And their getaway car happens to belong to Mauser.

BACK TO SCENE

:t l'IAUSER (shouting} Hey! Hey! That's my car! Get away from there.

That doesn't seem to mean much to this group -they start

,.

the car and take of£. Mauser is frantic. Frantic enough to start lowering himself to the street via a ••.

58 COMTIMUED: (3) 58

DRAINPIPE

along the side of the building. He's just starting down when he hears a HELICOPTER.

P.O.V. BLANKS -POLICE HELICOPTER

Hovering over the building, its spotlight scanning the street, the rooftop.

BACK TO SCEKE

The beam picks him clinging to the drainpipe.

Below him, in the street, three police cars have SCREECHED to a halt.

At that instant the drainpipe bends, angling him out over the street - this was not·a very good idea. He s1Jings towards the building and drops, barely catching hold of a

WIHDOW LEDGE

Blanks sighs. Looks down. It's a forty foot fall. The window slides open and a WOMAM in bathrobe and curlers peers out at him.

WIDE

as the helicopter and pol icecar searchlights scan the building, picking up the dangling Blanks.

ANGLE on Blanks holding on for dear life.

(COKTIHUED)

Revised 9/q/85 SIJ-56.

58 COHTIMUED: (If) 58

REVERSE AKGLE

Over the woman's shoulder so we have a clear view of Mauser.

Mauser refle~ively reaches for his wallet. His face in- stantly registers a horrifying reality - he can't hold onto the ledge with one hand.

Mauser falls with a protracted ••. "

1'1AUSER :r. Oh shiiiit!!!!!

and lands in a massive garbage dumpster with a CRASH that sends ahalf dozen cats scurrying out of the thing.

60 IHT. DUMPSTER 60

as Mauser tries to sit up, suddenly blinded by the search- ~ lights, but not so blinded that he doesn't see the dozen or so weapons that are suddenly cocked in his face.

,. MAUSER (soft and weak) Shit.

REWRITE HAS RESULTED IN DELETION OF PAGES

55 AND 56

Revised 8/15/85 57.

We've seen something like this on HILL STREET BLUES: Glass separates the police and a 1~itnessfrom a lineup of suspects. The cops and witness sit in the dark while the suspects squirm under bright lights.

In the back row, Commissioner Hurst huddles with the Evaluation Committee: The fat gentleman squeezed into the three piece suit is MR. BELLOWS; the undertaker tvpe is rm. DELANEY and the three austere spinsters are MS. CLICK, MS. TYLER and MS. FREEMAN. Hot a mellow group as they sit • poised with pen ready to touch paper. In the front row, ~ TWO COPS work with MR. MILLER, a nervous, nerdy witness.

Hurst treats the Committee members with a pleasantness he could chol<eon.

ANGLE on witness and two cops.

P.O.V. MILLER - LINEUP

And boy is this deck stacked: !,lePAN from a shy accountant, to an Orthodo~ Jew, to a Catholic Priest, to an Eagle Scout, then - Bingo! This last guy has to jump out at us - bulging, unblinking eyes and a face that practically has "Axe Murderer," tattooed onto it.

BACK IN SCENE

COP !12 (gentle) Well. Mr. Miller, is he there?

58. *

(impatient) .. Mr. Miller. bright lights in there

·:,'•'.._.·;.··'·..

and dark in here. He can not see

,=,,.......;',,.

us . How; do you see him?

A·ri~rvousMiller li,dk~his lips as we .•• ....·.·.

63.. JHT/ PRECINCT OFFICE - DAY 63 •,r,';,

·,·do.r.iitadrab. ha 11way. •,'.••''• .

' l'IO~EWITHTHEM

; .,Z{l;;il

Revised 8/30/85

The two cops are frustrated by their nervous witness.

·.'•....·,. ,. COP i1 How hard can it be, Miller? He's either there or not.

Hurst has had it with this uimp; He leans forward and jabs ·him on -the shoulder.·

While this gets a few raised eyebrows and some.serious note taking from the Committee Members, it also gets to

hand and, with a surge of courage, points at his assailant.

At that precise moment, the lights jump on and all heads turn to discover our cadets and instructors filling the doorway - foremost of whom is Hedges with his guilty hand on the light switch.

Then everyone spins and stares at Miller who SCREAMS because •••

(COHTIHUED)

Revised 8/30/85 60.

"'

6If COHTIHUED:

THE AXE MURDERER

has plastered himself to the glass, eyes w.ide in manic anger as he stares at his accusor.

Miller jumps_up••• and frantically shifts hisaccusing fing~r to the priest.•

An agitated Hurst storms out of the lineup room, flanked by Blanks and tlahoney. In the b. g. • cadetsand Eva 1ua- tion Committee members file out.

Hurst stops short. Mauser appears in the hallway.

11AUSER Just stopped by to paymy respects, sir. before I run my men through the streets. It gives them a feel £or the city.

Hurst shakes his head in total frustration.

Hurst storms away but we lingerwith Mahoney and Mauser.

<COKTIHUED>

Revised 8/30/85 61.

l'IAHONEY <suspicious> You just happened to be in the neighborhood, huh? This thing· has a certain Mauser reek to it.

l'IAUSER Reek!? What reek?

Mahoney shakes his head in disgust and shoves past Mauser.

:}..ff1}i$.4t()•.••.:::_/_'.__:·;•.-·,_·.·.·_:,•_•.-.:.:.,:_~_:~,~:·~-~-[__;_'.i_...~-.·:~,:.:.~_·.;::_,:~.:_:....:·:_:_:'.~.:.;-.._:_..,~.·..·.

Revtf~f-,J~~?.{!0Ji•:.··•';•;•:>if:,,:·,.~. 66 E:X'l'~:ROUGlf'-NEIGHBORHOOD..,DA-Y.:,~::,..;," 66 ; :......::-·:...f...":\·~··:.;·.~·:,.~··.~.:.:,....~.:.-.~;t·J;'•:;;·: It @i;tsn• t·seem··to botherl'la.x·b·u-t·is sure getting toa nervous l'ls~:fyler.She's practically jogging to keep up with·i'lax•s'bo:un:cy.step;writing inanotebook as they :-move.into·.acrosswalk.

:::}l' . .MAX ..

·.: .··co~~!l-··!i'at.inigraines.

:; ,,...::.0

rwo CAR LOADSOt PONKS

suddenly:SCl\E;ECH.·toa.:halt.on both sides ofthem. Ms•

... .. .··~:·.·.....:..·......;~·-~•..::····.·:..

beat up convertibles and appraise him like old west _gunfighters.·Tliensuddenly the gang engulfs them. Ms. T!,llerletsout a prolonged SCREA~Ias she and Max are lifted into·the·hackseat of a car. Then gang members are laughing, slapping Max on the back ••• shouting hello's. '

..,•;.

ANGLE on the backs;at as a gang member slides in beside a confused·.l'ls.-Tyle.r~·He.throwsanarm around her.

...>. GANG MEMBER •.. ·::..:(to·Max) ..~hfsyour new squeeze? ..

The gang member slaps Ms. Tyler on the back good-naturedly. She's. petrified.

Ms. Tyler shoots him a horrified look.

Suddenly, Ms. Tyler is thrown back against her seat as the car blasts oII the line.

Revised 8/15/85 63.

"'

One of those restaurants with a walk-up window and an outdoor dining area.

Tackleberry steps out of his patrol car and heads to the window, leaving Sweetchuck sitting shotgun. An AGITATED WOMAN and her three small children waylay Tackleberry.

AGITATED WOl'IAH Excuse me, officer ••. we're sitting in a no smoking area and that man won't put out his cigar.

She indicates a FAT MAM sucking on a three pound cigar while he sips coffee and reads a paper.

He crosses to the man.

Tackleberry's eyes go wide in anger. He tal<estwo steps back, which brings him parallel to his car and Sweotchuck. He reaches for something - t~edon• tknow what until ..•

(screaming) You'll put it out HOW, mister!

Tackleberry swings up his RAMBO BOW and lets fly an arrow that jerksthe cigar from the fat man's ~outh and pins it to the building.

Hot a prosperous neighborhood. Tommy - who we last saw playing an imaginary game of one on one with Dr. J. - walks along looking as dejected as any nine year old c~n look.

,.

Revised 8/15/85 64.

Bud drives, Jones rides shotgun. He sees Tommy.

Bud's eyes light up - this is action.

With lights flashing and SIREM BLASTING, Bud barrels onto the sidewalk, SCREECHING to a stop in front of a startled Tommy and throwing Jones against the dashboard.

TOMl1Y So~e rat faced guy kicked me out.

JONES & BUD (in unison) Blanks!

Jones bounces an imaginary ball out the car window, manufacturing the sound.

He spins around and walks away. We MOVE with him.

(CONTIHUED>

Revised 8/30/85 65/66.

70 COHTIKUED: 70

We HEAR the o.s. BOUNCE of a basketball - it grows LOUDER until a BASKETBALL bounces into FRAME and over Tommy's head. Tommy's startled, but not so startled he can't grab the ball and study it as if he's not sure it's real.

The police car backs off the curb and as it pulls away, Jones gives the joyousTommy a thumbs up gesture.

Mrs. Fackler drives very cautiously with Hooks beside.her· and Mr. Delaney and Ms. Freeman from the Evaluation Com- mittee in· back.-. Acarspeeds out of an alleyway, cuts theM off and races up the street.

Mrs. Fackler hits·lt. Hooks flips on the SIREN. The sudden MOISE startles Mrs. Fackler.

swerving onto the curb; then straightening out.

With SIREH BLARING and lights flashing, Mrs. Fackler s14erves into ...

AK ALLEYWAY

It's a tight squeeze.

ANGLE on Hooks, horrified as the police car scrapes the narrow alley walls sending up a shower of sparks. Hooks bends and tries to pry Mrs. Fackler•s foot off the gas peddle.

(COHTIHUED)

Revised 8/30/85 67/68.

75 COHTIHUED 75

It is not slowing down.

HOOKS <V.O.> At.least open your eyes!

& I:

The police ca~ com~s shooting out of the alleyway only to head straight £or •••

P. 0. V.OCCUPANTS- MAX

and Ms. Tyler along with his car load of friends.

78A BACK IH SCEHE 78A

Mrs. Fackler SCREAMS, covers her eyes. Hooks lunges for the wheel.

swerves, misses Max's car but hits the curb hard and lifts off the ground. We follow its SLOW MOTION flight and HEAR -

MRS. FACKLER CV.O.> Is there an owner's manual with this thing?

The car lands out of FRAME with an o.s. CRASH.

80 THE POLICE CAR 80

upside down on top of a parked car; its occupants hang like bats, unharmed. Mrs. Fackler tries to turn to the Committee members.

Revised 8/30/85 69.

81 OMITTED s

A neighborhood of Mom and Pop stores selling appliances, clothing, hardware - definitely not Beverly Hills. Karen a.nd an apprehensive Sarah patrol the·dark streets.

Karen hears something. Motions Sarah to be quiet then moves cautiously ahead to ..•

BOB'S T.V. AMD STEREOS

a flashlight bea111.They spin around, shielding their eyes.

PUKK tl Hey, lady.••ya mind!? Ya.

The FIRST PUNK grins. Moves .towardher.

PUNK t1 Sure, I'm Bob of Bob's stereos. These are my sons. I'm teaching them the family business.

82. ·•..!82

..

She turns to see Sarah frozen inplace •

""" KAREN Sal'ah,"please!

.. · :'..(not._.toosure) I.,.l~·~.can.,do·i,t.

.. . KAREN

Sure you can. It• 11be good· £.o:i::_i,~utposture,· :.;··~ ,..:;··.···.:\•:·.::.SARAH· , <with·sudden gusto) :··Right!._-.-.-,__,

She takes,of:friirtning.,Thepunks move towards Karen.

-. .

A punk lunges an"dKal'ensprings into action with a devastating kick. It doesn't do much damage to the punk who ducks but it does a number on Bob's plate glass window: Her shoe flies off, shatters the window and sets off enough lights and ALARMS to guard the Crown Jewels.

Karen is frozen in place, stunned. The punks aren't. they reach into the window grabbing t.v.•s and stereos · sob.ythe tiineKaren l'eactswith a feeble karate chop to someone-•s_backthey are racing down the street.

PUNK i1 (as he runs> Thanks lady!

KAREi{ Hey! Come back here! Hey.

But they're gone. Karen sighs. looks at her shoe sitting in the middle of the shattered glass and looted display. She reaches for it ...can't quite get it •••crawls1n. Success. Starts to crawl back out only to hear •••

l'IAl{•SVOICE<o.s.). (loud) Free.:i:e!

<CONTINUED>

Revised 8/30/85 70A.

••• andcomes face to face ~ith Mauser, his cadets and a dozen drawn pistols and, just over their shoulder, the ever unsmiling Evaluation Committee.

A local hang out frequented by cops. Mahoney sits at the bar with disconsolate cadets.

We ANGLE OH Jones and the BATEHDER ringing up a tab, the transaction punctuated by the PIHG of the cash register bell. When he turns away, Jones duplicates the PING. The bartender turns hack, hits the drawer to be sure it's 'shut, turns, HEARS the PING again, spins around as if trying to catch it in the act. More PINGS. He ~hacks the side 0£ the register, obsessed with shutting the thing up. Suddenly, it dawns on him. He grabs aroll of duct tape from under the bar and turns on Jones,

(CONTIHUED)

Revised 8/15/85 71.

83 COHTIHUED: 83

Jones gives a mock look of innocence.

AHGLE on Mahoney and the cadets.

WIDE as a grinning Mauser intrudes with Proctor lapping at his heels.

Mauser laughs as he moves down the bar and snaps his fingers £or service.

~IAUSER (loud) My associate and I will have some champagne. We're sort of cGlehrating.

Jones nudges Mahoney. Shoves the duct tape in front of him. The two of them obviously are on the same wave length because they saunter towards Mauser.

What a waste of champagne.

Revised 8/15/85 72. *

83 COHTIHUEDi (2) 83 ·-·. ~la.user1aughs,contemptuous 1y.

l'IAHOHEY I'll bet you can't. Loser buys.

The bartender obviously wants to·see this because he's got a bottle of beer, a bottle of champagne and two glasses at the ready. The cadets crowd around.

Mauser shakes his head but closes his eyes. nahonf!y applies a strip of duct tape. The bartender and cadets are wide-eyed but Proctor doesn't catch on. Mahoney shoves a glass in Mauser's hand. He takes a sip.

11AUSER Easy! Beer!

tlAHOHEY (tossing money on bar> Too good for us •••youwin.

He leads the cadets out as Mauser smiles, starts to tug on the tape. His smile fades.

Proctor does, grabbing hold and RIPPING it off oblivious to Mauser's agony.

With a corner of the tape dangling from his temple, Mauser looks up at Proctor in a rage. His eyebrows and eyelids are totally gone - permanently affixed to the tape.

Revised 8/15/85 73. :,:.

Lassard paces in front of a line up of Academy Instructors and cadets. They are not happy.

Lassard turns to Sweetchuck who wears a sweatband and mirrored shades.

LASS~.RD Of course not! I have no doubt we'll be victorious.

Lassard resumes walking. As he does, he f~ils to realize he has gone past the end of the line so, along with the cadets, T,Jewatchhim get further and further away.

Lassard turns to make a point, findsno one's there, looks back and shouts ...

85 IKl'.MAUSER'S OFFICE -DAY 85

Mauser sits in a chair with his back to us. Proctor is doing something to his face, first with an eyebrow pencil then T,Jlthaneyelash curler. Proctor steps back to admire his work.

<CO}ITlMUED)

Revised 8/30/85 73A.

Mauser holds up a mirror and starts making l~OUHDEDANIMAL * SOUNDS. He spins around so we discover Proctor has penciled- * in 1930 STARLET EYEBROWS and given him inch long, glittering eyelashes. The wide-eyed Mauser continues the STRANGULATED ANIMAL SOUNDS. Proctor gets the.idea he's not.too happy.

Proctor produces a gag - bushy eyebrows. glasses and big rubber nose - set.

All we see of it at first.is a hi-tech screen displaying a map of the city.

PULL BACK to discover the room. The screen takes up half a wall. In front of the screen is an elaborate communications console - you could launch the space shuttle flight here. Hooks sits at the console with cadets lined up behind her watching.

Hooks pushes a few buttons and a grid map of city streets pops on the screen. ·

HJ::DuES Will this thing pick upM.T.V.?

Some laughter. A beat. Hooks does not loo~ happy.

A resounding, "Mo, Sgt. Hooks," from the cadets.

(COHTIMUED)

Revised 8/30/85

86 COKTINUED: 86

A resounding, "Yes, Sgt. Hooks," from the cadets.

87 IH'l'.SMALLWOOD BUILDIHG - DAY 87

,,

CLOSE on all the cadets bunched together and looking scared.

WIDE

·to see Hightower addressing.them and looking scary.

'HIGHTOWER ' (holds up gas mask) You should hav.eyour mask on and he out of here·30 seconds after _this... .

,•.•comes through thewind ow.

Hightower gives them one ominous look then exits.

Hightower slams the door and crosses to Jones who also holds a gas canister.· Jones makes a DIVE BOMBER SOUND as he prepares to throw the canister, then adds the WHISTLING SOUND of a BOMB as he lets it go. Bull's-eye! He hits the window.

Hightower goes into a baseball windup and throws.

ANGLE on the building as the canister drills a hole through the building.

HIGHTOWER <o.s.> Oops!

THE DOORS

bust open as cadets race out, gas masks in place; Jones and Hightower encouraging them with shouts of; 'Let's go,' - 'Thataway to move!•. Smoke billows from the doorway.

As an answer, Max steps into the doorway without his gas mask. It doesn't seem to bother him though; smoke rings pop out of his mouth as he speaks.

(CONTI HUED)

$9;'*-·:._:'.·IHT•.DORl'IHALLWAY-KIGHT 89

an open door and peers in.

P.,o.v.KOGATA _;JONES

,,..:back.to.us. he.·appears to be adjustinga synthesizer, producing a drum rhythm section. He tweaks an imaginary dta.11:· i.. :·-.:·.•!:.·...-~·:.

N~gata knocks tentatively on the door. Jones spins ..around stillmanufacturing the sound. He sees Mogata and quickly flips make believe switches shutting down his sound effects.

Jones puts an·arm around Hogata and draws him into the room as he start.sto shut the door on us.

The door shuts as we••.

A hand enters FRANE and knocks on the door.

Revised 8/30/85 76,

Dressed 1n one of those workout suits more appropriate for seduction than eKercise, Callahan does bench presses on her bed. The KNOCKING interrupts her. She crosses to the door and opens it.

P. 0.V•.CALLAHAM- HOGA'l'A lt

He wears a pair of mirrored shades identical to Callahan's and a thin gold necklace. In his hand he holds a single rose and a note paper which he nervo~sly consults.

BACK IM SCENE

HOGATA lt. In my country it is written. only the kiss of a beautiful woman compares to the petal of the rose. (checks paper> Babe.

Callahan tosses away his glasses and reels him ln by the gold chain.

With that she e~velops Hogata in her arms aridthey fall back on her bed, his head buried in her breasts.

DISSOLVE TO;

92 IKT. HOTEL BA.LLROOl'I-KIGHT 92

It'll be a second before we realize that because we've dissolved to Hogata with his head still buried in Callahan's breasts. She's in a gown and they're slow dancing as we•••

PULL BACK to discover everyone else on the crowded dance floor dolng whatever fast step i5 the late5t Qraze. A large banner above the stage reads: WELCOME TO THE 35th. AHHUAL POLICEMAN'S BALL. On the stage some hot band plays and sweats.

AT THE EMTRAHCE

Mahoney and Karen survey the room. A woman in a red sequined dress who is obviously aHOOKER. slinks past Mahoney and gives him a friendly wave.

Revised 8/30/85 77.

92 COHTINUED: 92

MOVE with them.

·.KAREH M~honey •••see·this ear? It's a finely tuned crap detector.

As they MOVE out of FRAME we•••

ANGLE on a group standing around chatting. It includes Hurst, the Governor, Lassard and the Evaluation Committee.

The Hooker sweeps by and taps Lassard on the shoulder.

Lassard smiles.•

He turns back to the group, chuckling to himself. They stare at him. There's judgement in that stare. Lassard stifles his chuckling and clears his throat.

(NOTE: Alternate tag:

(CONTINUED>

Revised 8/30/85 77A. :t

92 COKTIHUED: (2) 92

AKGLE OK PROCTOR

backed up by the Baxter boys. They step up to Mahoney,

Proctor hasn't noticed that the Baxters have wandered off until he turns £or their support. He does a double take.

AT THE BUFFET.TABLE

Mahoney, still holding Karen's hand, reaches the Hooker and maneuvers her.out of FRAME.

l'IAHOREY I need one of your special favors.

We stay at the buffet table to watch Proctor eat hors d'oeuvres. He takes a bite out of one, doesn't like it and puts it back on the platter. He ~icks up another, smells it, decides he doesn't like it either and puts it on the plate of a woman next to him.

(COHTIHUED)

Revised 8/30/85 77B.

92 COMTINOED: ·(3} 92

Finally, he anchors himself over a bowl of shrimp and starts shoving them into his mouth with rapid-fire pre- cision. He"s managed to deposit a ring of cocktail sauce around. hismouth. The Hooker_saunters up to him.

She nods. ·slips.acigarette into her mouth. Removes a g_oldlighter from her cleavage, hands it to Proctor.

He lights her cigarette then watches in amazement as she inhales, instantly reducing the cigarette to one long ash. Proctor clears his throat.

She takes his hand and drags him away, passing •••

AKOTHER PART OF THE BUFFET TABLE

Mogata stands trancelike, holding his hand over a candle decorating the table. He is oblivious to the flame. He:dges,Copeland and other guests watch in awe. Rogata removes his hand from the fla~e opens his eyes and smiles.

(CONTINUED>

Revised 8/30/85 B77B. '

92 CONTIMUED: (IJ) 9'2

The crowd disperses when Hogata leaves; all except Copeland. He looks at the candle, looks around, decides to give it a try. He closes his eyes and places his hand over the flame. There is a second of calm before Copeland SCREAtlSand jams his arm up to the elbow into •••

A PUNCH BOWL

at precisely the moment Hurst and his wife arrive to be greeted by a tidal wave of punch. Behind tt~m we see the Evaluation Committee Members. With his hand still in the bowl, Copeland takes Hurst's glass •

(filling Hurst's glass) Please •••allowme, sir. <to Committee l'!embers) You folks care for any?

As he turns to lead his wife away, Mauser appears to block their path. He wears phony eyebrows that look like thick bl~ck caterpillars.

Hurst shoves Mauser out of the way.

It is very dark. We can barely make out Proctor and the Hooker. l~eHEAR CLOTHIHG BEIHG REMOVED.

Revised 8/15/85 77C.

93 CONTIHUED: 93

In silhouette, we see her lead Proctor to a door.

The room door slams in the naked Proctor's face. If he realizes this is not the bathroom he doesn't show it. He presses his ear to the door, listens. Now, while a maid's cart blocks our view from the waist down, it doesn't block the view of the ELDERLY COUPLE walking down the hall towards CAMERA. Proctor doesn't notice them.

(CONTIHUED)

Revised 8/30/85 78.

94 COHTIHUED:

In the h.g. the couple stop. The man starts to back up.

He takes off but the WOMAH holds her ground - curious.

He trails off as reality hits him. Panicked, he POUNDS on the door. The old woman watches, placidly.

Ko response. Another hallway door and the elevator doors, start to open.

How, what happens next, happens very quickly:

Shielding his body with the maid's cart, Proctor dashes onto the elevator.

The maid exits a room just in time to see this. She races to theelevator. From the CAMERA'S P,O.V. in the hallway, we see her reach.into the elevator and come out with her cart. Proctor's head and arms appear as he tries to hold onto the cart. Then he's catapulted into the hall by a. herd of people stampeding off the elevator.

Proctor leaps for the elevator jamming his arm between the doors to prevent them from shutting. Every other set of ..elevator doors in the world would pop open again -not these. They stay shut and suddenly Proctor is being lifted off the floor as the elevator begins to rise.

ANGLE on the old woman who calmly watches Proctor as he •..

ANGLE on Proctor •••dangles,a look of horror on his face.

Only we don't know that because we are CLOSE on Hooks who * sings a few "SHADUBI DO," type lyrics as we•••

CCOMTINUED>

(.f..-.?.-:\~f:ff::,:l:·:-·:.-.·.-~t~·.:.,,-.lJ~:.·.,

Rev is~d8/30/g,;.J:'t.tB~1?:i~· _:·.··,·:.~.:_t,.~.-~.··•.·0..'._[_'._~.--::~•~:.__~"-·.:__:__•_::.~•·:;·~·-•:_:.(:.··::'·.,:.:_._·.•:~:.··•:•·:.:•:..•~-:....·:~·-·.·,·..·. 95 CONTI°NUED:..?t':}i;;}~t;fiijti)'·_..t•,._:~-• 95

PULL BACK.to .dt.~c~ver'.he'.-s~nstageaI~~;:?~lthJones. Tackleberry:1andCallahan.singing a littl~fl'lotownsty le backup for Ho·C>ks-•.·She•·rs:very good.

Jones relieves her d~irig..::aperfectJIMMlHENDRIX. He 1nanuJacturesthe ,Hendr..rx:soundwithout benefit ofany instruments. :,,Y\/:.....

C-HOTE: MUSICAL HUMBER.·MA.Y.BEPLAYED STRAIGHT OR IHTERCUT Wi.THFOLLOWING: CAil:SERVE ASMTV PULL OUT)

IHTERCUT .MITH ·-:·:··:.·~...

' ..•,. ·:•.'...·,.

H_URST.sTABLE .

Hurst·;.his.wifeand tha:dou'rEvaluation Committee watch the show. Mauser joins them. ·•:

Everyone turns to stare at the huge purple stain en- compassing _the front ofMrs. Hurst's gown.

l'IAUSER <considering this) I'm sure I could get it under control if Iknew who was winning.

Let's just say that Lassard's cadets have not impressed them.

Mauser's ecstatic. He pumps Hurst's hand so hard one of his eyebrows shakes loose.

(COHTINUED)

:,:

Revised 8/30/85 80. ·

l'IAUSER Thank you, sir ••• ohthank you, very, very much!

Hurst pulls away, disgusted.

He turns and collides with a very agitated HOTEL MANAGER.

Sorry to bother you Commissioner, but we've had reports of a nude man terrorizing the hotel.

Mauser's all too happy to oblige.

l'IAUSER Hude man! I'll put my best people on this! (shouting) Proctor!

Proctor is out of earshot as he crouches do~n and slinks from one car to another trying to find one with keys. Finally, success. He hops in and we linger long enough to hear the engine start then •••

Quiet, deserted. Proctor rolls to a stop at a light. He looks a little more relaxed until a TRUCK RUMBLES up alongside him. Poctor slinks down in his seat.

AHGLE on the TRUCK and the MAN riding shotgun. He casually glances down at Proctor, then does a double take.

(COl<?IHUED>

Revised 8/30/85 81/82. 96B COMTINUED: 96B

WIDE

Proctor returns the look and decides not to wait for :e the light. He ZOOMS off. :e

Mauser approaches Lassard's table. Mahoney, Karen, Hightower, Jones and Hooks sit with Lassard.

l'tAUSER Well, glad t~ see you enjoying ·yourse~ves, despite the bad news.

With genuine enthus-iasm,Lassard hops up and shakes a startled Mauser's hand.

This gets a mumbling of approval. 11ahoneyis thinking.

<COHTIHUED>

82A. :r

Revised 8/30/85

·-.'·~.:··-···98CONTINUED: 98 ::\•.;,.~::. .HOOKS

Any ideas?

11AHOME'I'.

Hold that thought, Hightower. (and takes off)

Proctor's car squats at the side of the road making SOUKDS that suggest it.will never run again.

CLOSE on.Proctor's hand turning the key.

INSERT - GAS GAUGE

it reads emptp.

We're not sure why we are lool<ingat a cou.pleof garbage cans until two bare arms come intoFRAME and yank off the lids.

WIDE

to see that this dark, deserted alleyway doesn't look much better than the garbage cans. Suddenlp, up ahead, someone zigzags towards us: It's Proctor, holding two garbage can lids in place - one covering his crotch, the other, his butt.

A DOG BARKS. Proctor freezes for a beat then continues to slink down the alley. This is one nervous guy.

UP AHEAD

a police car swings into tha alley•••moves towards

PROCTOR

who presses back in a doorway. The car's getting closer and he'll be seen £or sure. He looks around - frantic -

(CONTINUED>

Revised 8/30/85 82B.

tries the door and it opens. Proctor pops inside the building just as the cop car sweeps past.

Proctor leans against the door - sighs with relief. A beat as he gathers his composure then turns around to see. • • ·

P.O.V. PROCTOR - MEN IH LEATHER

lots of them. all staring ~ide-eyed at the new arrival. Proctor has found the back door to the Blue Oyster.

REACTION - PROCTOR

also wide-eyed; We HEAR but do not see, GARBAGE CAK LIDS

CUT TO<

98E HURST'S TABLE 98E

Mauser is just about to take a seat between Hurst and the Governor when he's trapped in the blinding glare of a spotlight. He blinks. looks around, like a jailbird caught making his escape.

MAHONEY CO.S.) There he is folks •••avery, very special man ••• (in FRAME; holding mike) Commandant Mauser.

Mahoney plays this as if it were a bad Vegas Lounge act. He shoves Mauser into his chair and glides behind the Evaluation Committee. The spotlight follows him and the Committee staras into it - unblinkingly.

11AHOHEY You all know this committee's been evaluating our two academies. And they're close to a decision.

HURST

turns and glares at Mauser.

<CONTINUED)

Revised 8/30/85 83 •

Mahoney tilts the microphone to Mauser who sputters something like ••.

Mahoney jerks the microphone away•• ,

MAUSER

leaps out of his seat - Hurst jeJ::kshim backdown.

Mahoney tossles Mauser's hair with mock affection. Mauser almost tries to bite his hand.

·MAHONEY He said you want_competition!? Let the cadets go head'-on-head in the street. Then you'll know what _kind of cops they'll make. Commandant Mauser, I salute you!

Mahoney thrusts the mike into a glass of water in front of Mauser and starts applauding. The others stand and *

:0:

applaud with him. We catch COMMENTS, like: •Great

:t

idea!', 'Brilliant!•·. A desperate Mauser tries to pro- test but when he plucks the mike from the water he gets a shock that throws him, wide-eyed, back in his chair and starts his phony eyebrows smoking.

Revised 9/3/85

••

Commissioner Hurst stands at a podium set up on a make- shift stage. He addresses cadets and instructors from the twoAcademies. Mauser, Proctor, Lassard , ..Mahoney and the Governor sit behind him•. · The Governor•s heli- copter is visible in the b.g. Hurst.is. just. finishingup.

so your Academy's iiandling of these simulated police situations - use of manpower, speed~ efficiency and judgment - determines our winner. Evaluation Cciinmitteemembersand police personne 1wi1-1moni.toryour performance at crime locations. My advice is, treat.this·a.sif it were real.

Dismissed!

As the pr~ceedings br~ak ;p:~nd cadets from both Academies head £or the parking lot,. Hurst takesLassa.rd,Mauser, Proctor and Mahoney _aside.

l'IAHOHEY Cm.ockserious) Special men, trained to combat debutante crime! I have just the one.

CLOSE on Hedges looking green, a barf bag pressed to his mouth.

on his face. The Governor looks left to see a red faced BaMter 11, the veins in his neck ready to eMplode as he presses his palms together in an isometric exercise.

Revised 9/3/85 85.

100 COHTIKUED: 100

Hurst turns around from the front seat.

HURST "' We'll be taking off in a minute, Governor •••

He stops, taken back by the sight of Hedges and BaKter.

Mrs. Fackler works the computer terminal and handles the radio under Hooks' supervision. Blanks and Copeland observe.

The wall size screen displays the street grid breaking the city into sectors. A red light blinks on and off in Sector One.

COPELAllD You heard him, Tackleberry! :c

Mrs. Fackler looks from Blanks to Copeland to Hooks. ,. Hooks bites her tongue.

Tackleberry and Sweetchuck pull their squad car to the curb as an ELDERLY WOMAN waves them down from a corner pay phone. She's very upset.

~OMAN 0££icer••.officer.••the phone took my dime and the operator won't give it back.

Tackleberry is as sweet as can be as he pats the woman on the shoulder and takes the receiver.

,.

Revised 8/15/85 86.

102 CONTIHUED: 102

OPERATOR <V.0.) I already told her, she has to write in for a refund.

He steps back, dr,ms his gun, fires three shots into the coin box. Change explodes out and Tackleberry scoops up a handful and holds it out to the petrified woman.

Tackleberry shoves all the coins at the woman and races out of FRAME.

A police car SCREECHES to the curb in front 0£ a four-story office building. Tackleberry and Sweetchuck hop out and hit the revolving door hard and fast. Tackleberry hits It so hard and fast that the momentum spits St.?1uitchuckbackinto the street. Sweetchuc'kdraws his gun, startling pedestrians before he realizes where he is. He races into the building.

t04 IllT.OFFICE BUILDIKG - LOBBY 104

An old building with an old elevator and a set of stairs.

TACl<LEBERRY Secure the elevator. I'll take the stairs.

105 ON THE STAIRS 105

Tackleberry goes through exaggerated motions -throwing himself from wall to wall with gun in hand -as if expect- ing a sneak attach at any monumt.

A nervous Sweetchuck stands in a police crouch, pistol trained on the elevator door. Sweat's coming off this guy in buckets. The elevator stops. The door slides open and we •••

-,:. ..:~..\:•~:;~.f\~.. Revised 9/3/85 87. ·.,'.:;>:rt{~,

We may have enough time to read FRIEDMAN DIAMOND EXCHAKGE on the pebbled.glass doo·rbefore Tackleberry leaps from ·the stairs and Sweetchuck bolts off the elevator. Tackleberry scares the ~ee out of Sweetchuck who jumps back, YELLS and drops his gun. The gun discharges shattering the glass door. Tackleberry immediately thrusts his pistol through the broken glass.

P.O.V. TACKLEBERRY - THE OFFICE

where Mauser. a couple of his cadets. the Evaluation Committee and a few wide-eyed participants in this mock

framed in the shattered door. Sweetchuck pops up beside him, pistol in hand.

MAUSER <O.S.> Sine~.we took care of the robbery, the least you can do is grab a broom and sweep up your.mess.

A large expanse of lawn iscrowded with umbrella cover~d tables,. barsand buffet tables and moneyed, SUNTANNED PEOPLE in Yacht Club attire. Everyone holds a cocktail glass so the cash bars are doing a brisk business- Women with Republican hair sell raffle tickets to help some unannounced charity.·

The Governor's helicopter sits on pontoons by the dock. On the placid lake, regal sailboats compete in the Regatta.

The Governor stands beside a large trophy encircled by reporters. Baxter is glued to his side, muttering into a walkie-talkie pressed to his lips. Hurst watches, disdainfully.

The Governor takes a step and Baxter moves with him,

<COllTlllUED>

,

Revised 9/3/85

103 CONTINUED:

The Governor stops abruptly andBaxter almost runs up his ·<-.

..·.s

back, the walkie-talkie antenna hitting him in the head• :...·..·

As the Governor steps away,Hurst jerks the walkie-talkie

from Baxter's hand -shoves down the antenna. :c

ANGLE on Hedges doing some mingling. He stops .awhite- jacketed BUSBOY.

The busboy storms out of FRAME. Hedges shakes his head, not believing ~1hat he's just heard. He steps towards a. large MAN in a red jacket directing other help.

Hedges stops short when the man spins around. He's Mr. AKe Murderer -we met him in the lineup room. This guy's face is hard to forget.

Revised 9/1/85 89.

The guy grunts and storms away. Ne linger on Hedges long enough to know he's thinhing hard about something.

A prosperous, quiet neighborhood where yuppies wax BMWs, walk dogs, job. A police car, driven by Hightower, rolls quietly into FRAME and we see Bud - eyes wide, scanning the streets, holding a shutgun out the window. As the car exits FRAME it goes over a speed bump and the shutgun DISCHARGES. O.S.

Jones is behind the wheel and Rogata is beside him as they * wait for a light to change. A half dozen kids converge on the car and start cleaning the front and back windows.

PULL BACK to discover a couple 0£ kids are already check- ing out the gas. In fact, they're siphoning it into a red can.

Karen drives, Mahoney rides shotgun. They both look very intense. very serious. There is an O.S •.chuckling. They both turn towards it.

P.O.V. BOTH OF THEI'I-LASSARD

,.

In the backseat, chuckling as he reads a book with a

:t

large goldfish on the cover, that's entitled "THE WACK'!

:t

WORLD OF GOLDFISH.n

CLOSE on the screen showing the city grid and location of squad cars. Suddenly a red light pops on and the number 1048 flashes on and off.

PULL BACK as•••

Revised 9/1/85 90.

We hear Nrs.Fackler on the car radio, ..

Hightower £lips on the siren.

ANGLE on Copeland and Blanks as Copeland slides what looks like a remote control T.V; .devicefrom his pocket. surreptitiously aims it at tha•••

THE SCREE}{

The red dot hops around like a Mexican jumping bean.

The car makes two full circles in the middle of the street then turns left onto a narrow road.

P.O.V. HIGHTOWER AND BUD - THE ROAD

or what's left of it because it empties right into a lake,

BACK IM SCENE

The police car plows into the water.

Copeland exchanges a glance with Blanks, pushes another button and ...

Mrs. Fackler can't believe what she's seeing -- a game of DONKEY KONG dances on the video screen. A concerned Hooks pushes buttons on the console. Copeland flips a switch and the grid pops back on.

(CONTI HUED>

··Jt~:~{J~t~tt:}£:~.-:~t?:..·.·.·,'·.·.:.'.·•,;,···:,•.'.,.~,1._·,~,~-.-,·._;..._~-~-~.":,~a-~-:..·.,·_·.•,:_..;_· 4:~~t/?;R1Ji·~~:·/·.•.·•-..~·~r:~......,. , .t~ev:tsed9/1/85.·-..,,.,._.,...;,... 91 •

)~f:ftif~]~!.'.~~,~~:·..:':,:_.;:''('.:ft~~-~S:FACKLER 116 ,... · -,:,_:,<'.-·c,,:<,. <totaYly..confused) _,;¥.····::..>·,':'Jones,nowi:t}sin your sector! ..,,. ..,;:.,.-:.::•::·.\.:•:'·,;.. :·.,::':,1.·;-·• CUT TO:

117..·.EXT_-JONES• POLICE CAR. -STREET - DAY 11.7

Joneii{l~ansagainst'._'!:~e.cardoor,car radio111ikein hand, ..;:.··:~~·,!~·r.:-~.... :,f;/.7. ·... · JOMES ,,.· . <.int~mike) ·:·-..:.:/:·...-..:...':.That•·s.:n.ica.butyoubettersend ·.f:~,;);i.ri:Mahoney.

·Ashe sp~aks·we PULL BACK to discover Jones' car out of

Mogata trudging a1,1a(witha gas can.

,,,.· .. CUT TO:

Two of !'tauser'~po Ii~ecars are;ulled up onto the side - -walk penning in a group of kids posing as a street gang. Mauser, Proctor, FOUR of MAUSER'S CADETS and the Evalua-

Mahonsy•s car comes SCREECHIMG_to a halt •

·The Governor ·talksto some socialites with Baxter prac - tically standing in his back pocke.t. Hedges approaches Baxter.

Hedges shakes his·head •••staggers away•••as if he can't believe this sudden assault.

Revised 9/1/85 92.

Hedges approaches a set of swinging doors and peers through a glass portal.

P.o.v. HEDGES - THE KITCHEN

Where he sees ten waiters, cooks and busboys hard at work but not at preparing food. They are pulling on rubber masks of SHOW WHITE and the SEVEH DWARFS --the axe murderer is Snow Hhite. They shove weapons into their jacket pockets.

BACK IN SCENE

Hedges _turns from the door wide-eyed.

Panicked he stumbles away, pulling a walkie-talkie from his back pocket. He flips a switch, extends ·the antenna.

:t

Mrs. Fackler takes off her headset, and hands it to Hooks.

l'IRS.FACKLER ·Something's going on with Hedges.

Mahoney adjusts the radio as we hear, faintly.,,

HEDGES <V.O.> (lots of static) I need help! I need help! And don't say, •It's not my job!"

1.22 INT. YACHT CLUB - DAY 122

A gun comes into FRAME and presses against his nose.

CCOHTINUED)

Revised 9/1/85 93.

122 COHTIHUED: 122

The walkie-talkie drops with a CRASH.

123. IHT, 11AHOHEY'SPOLICE CAR 123

Karen. Mahoney and Lassard do a take as they hear the CRASH.

HOOKS <V.O.> Con radio> Did you read that? Was that for real?

(into mike) We heard it. (to Lassard) ·Sir?

l'IAHOHEY What about the evaluation?

A beat.

The car speeds away,

121\ INT. ACADEMY COMMUNICATIONS ROOM 121J

,.

Blanks andCopeland sit smugly in back as Mrs. Fackler watches Hooks work the dispatch board.

'- Blanks and Copeland perk up at the sound of this.

(CONTINUED>

...·~. :.,._.·.,..

Revised 9/3/85 .~·~~~.:\

COHTIHUED: 12J''}·

..•. HOOKS ' s

Tackleberry •••Lassard says screw the evaluation •••assist Hedges.

Copeland he:frs this and jumps up with a victory yelp. When he jumpsthe remote·control switch hops oμt o.£his pocket and •••

MOVE with switch as it slides across the floor and stops· at. Hooks' feet.

Hooks turns slowly, looks at Copeland and Blanks, con- fused by their reactlon. She looks down, picks up the remote control d-evice,pushes a b11ttonand the VIDEO ·GA~IE.appear..son. the· screen'.agai.n •.

ANGLE on Blanks and Copeland, who look at es.chother knowing they've been nailed, turn as if to offer a

bl.,'Hooks.

They hit the floor like two sacks of rocks and Hooks steps over them.

1.2.5 ·IM?. MAUSER'S SQUAD CAR - MOVING. 125

Proctor snaps off the car:radio.

P·ROCTOR Mahoney must think he's as dumb as we aret We're not gonna fall for that Hedges stuff!

Mauser glves o.ne ofhis, "I can't believe this guy" takes.

CLOSE on Baxter as a gun is jammed against his face. He faints. In fact, during this entire scene, Baxter re- mains passed out.

PULLBACK as THE THIEVES pull their weapons and there is a COLLECTIVE GASP, followed by the sound of COCKTAIL GLASSES hitting the grass. The Governor and Hurst look do1,,1non Baxterdisdainfully, then at the axe murderer, who holds Hedges at gunpoint.

Revised 9/3/85 95.

126 CONTINUED: l26

TheGovernor swallows hard.

l27 EXT. DOCK AREA - DAY 127

Four squad cars come to a TIRE SQUEALING stop at the edge of a concrete pier. Mahoney, Karen, Lassard, Jones, Bud, Hogata, Tackleberry, Sweetchuck and Hightower jump out of "' their cars and peer across the bay to the Yacht Club Island. They exchange quick glances. Mahoney turns to see...

P.O.V. MAHONEY - SIGH

that reads: "REMTAL OFFICE: BOATS -JETSKIS"

BACK IH SCENE

and Mahoney is moving in the direction of that sign.

The bad guys have sacks filled with ill-gotten gains. One of them carries the Trophy. The Governor and Hedges stand with their hands up.

He indicates a woman wearing a SLEEPY mask who holds *

,.

Hurst at gunpoint while she pulls off his medals.

(COMTIHUED)

Revised 9/1/85 96.

128 COKTINUED: 128

Suddenly, there's a BUZZING SOUND. En masse, all heads turn towards the lake. Jaws drop open.

ON THE LAKE

Here come the good guys, racing. towards the isl and ina foam spewing wedge. There's ARRIVAL OE"THE CAVALRY nUSIC aswe discover: Mahoney, Karen, Nogata and Bud riding jetskis forming the head of the wedge; Jones, ttax and Callahan on wet bikas; Tackleberry <POSS. DOUBLE>, Sweetchuck, Hightower and Lassard in a boat. Lassard stands posed like Washington crossing the Delaware. All of them are drassed in brightly colored wetsuits badges pinnad _tothe front•.

P.O.V. OUR HEROES - THE YACHT CLUB

the bad guys are thrown into mass confusion •••they start running._guests start running as •••.

BACK IH SCENE

Our heroes split off to attack the island from various directions. It looks like the landing at Normandy.

129 THE YACHT DOCK 129

The Axe Murderer and a THUG who carries the Trophy force the Governor into a boat. A SECOHD THUG, carrying the loot. hops into a smaller boat and starts it up.

AT THE SHORE LINE

our heroes storm up the lawn, spreading out after the scattering thieves.

ANGLE on Mahoney who heads after the Governor.

WIDE

The Thug hold3 Mahoney at bay by-pressing the gun to the Governor's head. The axe murderer starts the boat up, begins to steer away from the dock. The second thug follows in the smaller boat.

MOVE with Mahoney as he races back up the lawn past Karen, Hedges and !'lax.

<shouting> I'm going after the Governor.

They fall in behind him.

Revised 9/.1/85 .:··,_ 96A •

,1.::-·..:·

129A A WOODEt{\AREA <WAS SCENE•·13'5);'<·•:_,i.'-•••• 129A

Sweetopuck drops from a trea; cradling a gun DIRTY HARRY would be.proud of. He jumps back, drops the gun. then, tentatively,..reaches for..it:.un:til. . ..••• ·.

·.... SltiEETCHUCK ··I. ·knowwhatyou•re thinking,punk. D:idhe•f.irefive ·roundsor sild? ... s~. you gotta ask yourself:. Do you

· · _-:.:..·.feel,.,lucky?Well;do.you,punk!? .. .. .. ~

130 EXT-·.YACHT CLUB BUILDIKG 130

THREE CROOKS r~ce through the ·frontdoor -disappear. A beat._.andJo?1escomesracing after them.

131 THEDOCK 131

TWO CROOKS hop into a second speedboat. One starts the

they·do~•t budge. In unison they turn and see •••

P.O~V. CROOKS - HIGHTOWER

chest de.epin water, hands firm.lyclamped to the rear of the boat, holding it in place. He smiles.

BACK IH SCENE

Crook One jumps overboard. Crook Two makes the mistake 0£ swing.ingat Hightower. Hightower letsgo of the boat. It speeds away and the crook tumbles over the stern into Hightower's waiting arms.

OH THE:DOCK

Crook One pulls himself out of the water, comes £ace to face with Bud and belts him. Bud is undaunted.

And Bud coldcocks him with one shot.

131A ANGLE OH ANOTHER CROOK 131A

who jumps on a wet bike and speeds off. He doesn't get too far as he hits a floating buoy line. The front of the ski

Revised 9/1/85 96B.

catches the line and ~,etbi:keand crook do a complete somersault.

131B AT THE DOCK 131B

A crook starts up a jetski but is suddenly jerked out of FRAME. Hightower holds the crook out at arm's length, he's dragging his other catch by the shirt collar. A very cocky Sweetchuck steps up to him.

SI>IEETCHUCK Everything under control here, ~gt. Meed any help?

Hightower glances at the squirming crook and the man he's dragging.

I believe all is copasetic. But.I appreciate the offer.

Sweetchuck gives a cocky nod, steps back, trips on a tow 1ine and ...

ANGLE ON the jetski. lt'S still running as Sweetchuck topples on and the thing takes 0££ •••Sweetchuck's scream trailing back at us.

132 UIT. MAUS.ER'SPOLICE CAR - l'IOVIHGPASTLAKE 132

Mauser hangs up the radio mike.

'

P.O.V. MAUSER - THE YACHT CLUB

across the lake.

BACK IN SCENE

;t

Revised 9/1/85

A man in a scull is maneuvering a turn in the channel. He looksup because he hears the same thing we do ••• the O.S. SOUND of APPROACHING BOATS.

P • 0 • V.MAH-BOATS

Boat 11with the Axe Murderer. Governor and thug and boat 12with a crook and the loot. They are heading straight £or him.

BACK IH SCENE

This poor guy's got nowhere to go as boats 1 and 2 split his scull into.thirds. He's only got a second to relax before Mahoney, Bud, Max and Karen sweep past him in pur- suit 0£ the crooks. The man, sitting in the remaining one-third of his boat, spins like a top.

WIDE as the two boats reach a ..•

DIVIDE IR THE CHAHHEL

Boat 11 goes right followed by Mahoney and Karen. Boat 12 goes left followed by Bud and Max.

132B CENTER ISLAND BOAT RIDES 132B

it's the water equivalent of BUMPER CARS. Lots of fami- lies having lots of fun until .••

BOAT 11

followed by Mahoney and Karen come speeding through splashing peop.le·andsending the bu111perboats careening off each other like pool balls.

132C BOAT ~2 132C

speeding through the narrow channel, Max and Bud losing ground.

ANGLE on Max looking determined as hell, then nervous as hell, because •••

P.O.V. MAX - A LOG

directly in his path.

<CONTINUED)

Revised 9/1/85 98. ~

BACK IN SCEHE

Max hits the log does a somersault, lands and keeps on going, coming up alongside Bud.

l'IAX (shouting to Bud) I feel good, now. I £eel good.

132D THE LAND DIVIDE 132D , S1<1im~ingand picnickingare about to be rudely inter- rupted as•••

BOAT !1

he_adsfor the divide and jumps it, follo1<1edbyMahoney and Karen. They land in •••

132E THE OTHER CHANNEL 132E

and now boat t1 and 2 are racing alongside each other with Mahoney, Karen, Hedges and Max in pursuit.

132F OK THE LAND DIVIDE 132F

things are just getting back to normal as

132.G S'WEETCHUCK 132G

barely hanging onto the jetski for dear life, sails over the divide and heads down the channel.

133 OMITTED (REPOSITIONED TO 137A) 133

THE GOVERNOR'S HELICOPTER 1311

A THIEF has commandeered it. The blades rotate ••• the copter shifts, ready to lift of£, then, suddenly•••

THE WATER

explodes as Tackleberry, dramatically backlit by the sun, rises from the lake. Bare chested, face greased, he does his version of RAMBO; he grabs the pilot around the shirt front and catapults him out of the chopper-

135 OMITTED <REPOSITIONED TO 129A} 135

136 IHT. YACHT CLUB -KITCHEii 136

Empty. Quiet. Jones steps into FRAME ...stalking, listening. He takes a few steps then•.•

(CONTINUED>

Revised 9/1/85 99.

136 COHTIHUED: 136

Jones spins around. Two crooks come at him from the left and a third appears to his right. With an out of sync KUNG FU YELL, Jones defies the laws of gravity and propels himself straight up and out o! FRAME.

The crooks look up, openmouthed. Jones flies back into FRAME, kicking one crook in the chest and propelling him into the crook behind him. The two men go down hard.

Crook nurober:Three holds a pistol on Jones and for a beat we think he's bought it but then we hear an O.S. KUNG FU YELL and all heads turn to see •••

HOGATA

in a mid-air, SLOU MOTIOM, Kung Fu kick.

AHGLE on Third Crook as Hogata arrives in SLOI~MOTION to kick the gun from his hand. All of this is accompanied by exaggerated SOUND EFFECTS.

ANGLE on Jones, smiling, then suddenly Kogata -- in REAL TIME -- drops into FRANE beside him. They turn back to back, making identical $QUHDS and hand movements then spin and kick, sending two crooks sliding across the floor on their butts. The third crook escapes.

CUT TO;

137. EXT, THE LAMM 137

A shotgun wielding crook has his path blocked by Callahan, He pumps the gun, threateningly, Calmly, Callahan shakes out her hair, begins to ease down the zipper on her wetsuit and steps towards him. He doesn't know if he's being seduced or arrested but while he's trying to decide, Callahan pulls a BEVERLY HILLS COP move, She clamps hold of the shotgun, £lips the crook to the ground, shoves the barrel into his face then looks up and gives a big smile and an O.K. sign to...

LASSARD

who returns it as he steps onto the porch of the

YACHT CLUB BUILDING

The crook who escaped from Mogata and Jones races out. Lassard blocks his path.

•"'•.•_;;··-

..'..~)i~·;:.~~J:.,·::..

100. "'

137 COHTIHUED: .-_,. 137

·Lassard·takes a•stQp back as if co111plyingthen suddenly pulls a-·J·ones;he lets out afiercQ yell, spins and nails the c_lown·•witha karate kick sending hi111CRASHINGback into the building. Lassard straightens his jacket, points to lake.. ···· ·

LASSARD ··'·To.theboats, men!

M~jestic/-impre~sive: Stately. That's how these sail- boats look as they slice through the lake water, until ..•

...

THE TWOBOATS

exit the channel and head into the regatta, spewing foam, driving the delicate vessels off course, capsizing others. Just as things are returning to normal, here comes •••

138 MAHONEY 138

and our other heroes creating more chaos.

l'lahoneyswings along.sidethe Axe Murderer's boat (boat t1) ~nd motions them·to pull over. The Axe Murderer points at himself with a "Who, me?!" gesture. Mahoney nods yes. The guy swerves his boat forcing nahoney off course and around a large sailboat.

138A AHGLE on Mahoney as he hits a wake and goes airborne. 138A He flies through the sail of a boat. lands and continues the chase, undaunted.

WIDE

to disocver boats and jetskis weaving through the regatta playing a disruptive game of cat and mouse - joined now by Jones, Bud, Noga.taand Callahan on wetbikes.

138B ANGLE on Jones as his wetbike stalls. He tries to crank 138B it up •.. it sputters.Jones look·s left, then right to discover boats 1 and 2 converging on him. The waterhike st~~ts ~nd Jones manufactures the SOUND OFA DIVING SUB- MARINE as he drives the waterbike under and disappears.

The boats and jetskis whiz past, narrowly missing each other. When they clear FRAME, Jones rises out of the ...- water, continuing his SUBMARINE SOUND EFFECTS, and joins the chase. ·

Revised 9/1/8S 100A.

138C SWEETCHUCK 138C

heading straight for a sailboat. He jumps it and lands, almost taking out Bud and Karen then zigzags between Max and Nogata who collide. As Sweetchuck pulls away, they remount their vehicles and join the chase.

CUT 1'0:

138D CALLAHAN AHD SARAH 138D

riding between sailboats as boat 12 flies past 6 feet off the water.

t38E MAHONEY

doing slalom t~pe moves through the sailboats. He is almost wiped out by boat t1 speeding between boats.

138F A WATERSKIER e 138F

who, judging by the slow pace of his towboat, is no pro.

BOAT 12

cuts across the skier's line, snapping it and jerking it from his hand so the tow line and handle drag along be- hind the boat.

139 ANOTHER PART OF THE LAKE 139

CLOSE on Mauser showing a strain and shouting •••

PULL BACK to discover that "it", is a pathetically small PADDLE BOAT making pathetically little progress as Mauser and Proctor, wearing a bulky life jacket, paddle away.

139A BOAT 112. t39A

sweeping down on them, just maneuvering away at the last second.

INSERT -TOW LINE

slipping under the paddle boat.

<CONTINUED>

Revised 9/1/85 100B.

139A CORTIRUED: 139A

BACK IH SCENE

Mauser shakes a fist at the boat.

More of a menace than Hauser can imagine because, sud- denly. the paddle boat is jerked.fro111FRAMEas

WIDE

the tow line takes hold, dragging the boat behind it. Proctor and Mauser are trapped ••• their legspumping away at ninety miles an hour ••• alook of sheer horror frozen on their faces.

INSERT - PADDLE BEARINGS

smoking like crazy.

BACK IH SCENE

The paddle boat is t~ken on a high speed run until it hits a wake, tilting it at a ninety degree angle and send.ingMauser and Proctor £lying out. The tow line snaps and the boat 12zips away.

140 MAHONEY 1lf0

determined as hell, moves alongside the axe murderer's motorboat again. He pulls a John Wayne, leaping from the moving jetski into •••

THE BOAT

Mahoney lands between the axe murderer and thug and the Governor.

Revised 9/1/85 101.

Mahoney points behind them and the axe murderer and his companion tu?n.

P.O.V~ BOTH or THEM - POLICE BOATS

three of them approaching in a wedge formation. We can make out Hooks and Mrs. Fackler along with a lot of HARBOR POLICE.

BACK IH SCENE

These guys panic. The man steering jerks the steering wheel sharply to the right to evade the Police boats. Mahoney throws himself over the Governor because they have just turned into a head-on path with boat t2.

IHTERCUT

instant panic on the faces of the crooks in both boats as they each swerve to avoid a head-on and manage to turn the boats into land cruisers. The boats hit

1111 THE SHORELINE

and become airborne.

OUR HEROES

stop at the water's edge and watch the flight of the two boats.

AKGLE on a TWO STORi CHAHGIHG BUILDING as the two boats hit and stick like darts in a dartboard.

AT THE SHORE

police and guests race towards the two boats.·

ANGLE on Axe Murderer, who lies on the ground, thrown clear of his boat. He starts to sit up and comes face to face with Hooks' pistol.

ANGLE on boat #1 where slowly, tentatively, Mahoney stands in the stern, looks around, then helps a Governor to his feet.

<CONTINUED)

-~{[j{~i~t(;)".•.

Revised 9/1/85,.,.,•F>':'J. 102.

1lf1A 1'11A ::·::·::~. '![f~#ii~lfW:/ ' ·

A waterlog;~d-l'l~user·~ndProctortry to -;i:ir1themsel11es ;out of the water.but an-_outof control Sweetchuck keeps circling them.,·making.i.t.'difficult.MahoneI/gets "' · thumbs..up__from-ou:r.her.Q:es,.crowdedaroundbelowhim. "'

:c

E_valuation C'ol\\111ittee;;:)Theypass:fvelytake inthe scene

,c

as,they slide out.o·f,FRAMEwe••• ·.

AKGl,E on 11ahoney;who .hoists theY.ichtClub Troph!,'over- he!l.d-~.raisestheG·ove-rJior'shand:.and·•••

- ,·., · }iAHONEY· I'd .liltetothank all the members of my racing tea111.for·the.ir assistance.· I .~ouldn'thave won ••• ,;,- .SLAM CUT:

·•··. START CLOSE on Lassard, PULLIKG BACK ashe speaks.

·· . -· ··•·LASSARD •••-this competition without the help of .-my:many,many wonderful instructors ~nd m!r'_many•'.,_man!/'fine cadets. ...

I>le'-reback£arenough now to see this is another Gradua- tion Day. Lassar.d standsat a podium addressing cadets and·family. Hurst, the Governor and our heroes sit be- hind him.

Everyone applauds as Lassard turns around and motions our heroes to stand. He snaps off a sharp salute and strides with dignity across the stage. He stops, looks back at our heroes, theGovernor, the cro1~d, smiles, then· goes. intoaquick Kung Fu kick.

Freeze on Lassard in his Kung Fu pose as we•••

EX?. FOUR LAHE HIGHWAY •MOVI HG - DAY

..... We have our eye on a sporty convertible •

Mahoney, in civilian clothes, drives, Karen is squeezed beside him.

Revised 8/15/85 103.

111IJ COMTIMUED:

··--·

of fer.

They slow as they approach a Toll Booth.

They laugh as we slow •••

AT THE TOLL BOOTH

ANGLE on Mahoney as he hands over a bill. A hand comes into FRAME and takes it. Mahoney smiles.

He drives off as we stay on the Toll Booth long enough to see Mauser stick out his head, throw Mahoney a dirty look then motion to the next car.

PAN UP Crom the Toll Booth so we spot Mahoney's car speeding away. We watch it until it becomes a dot and we..•

FADE OUT: