Сценарий фильма плохие парни

- Автор сценария:
- Джордж Галло
- Майкл Барри
- Джим Малхолланд
- Дуг Ричардсон
- Режиссер:
- Майкл Бэй

Они — полная противоположность друг другу. Один из них — примерный семьянин и не имеет большого состояния, другой богат и пользуется всеми благами холостяцкой жизни. Помимо дружбы, их объединяет работа: они — полицейские. Их новое задание — поймать жестокого преступника, укравшего наркотики с секретного склада, а также спасти девушку, которая случайно оказалась на его пути. Но для этого друзьям придется на время поменяться местами…

СКАЧАТЬ

BAD BOYS
Revised Draft
by

DOUG RICHARDSON

FADE IN:

1 EXT. MIAMI LANDSCAPE - NIGHT 1
The sun might be down, but the city is baking. Waves of
heat ascend into the sky while an unmarked van navigates
ACROSS the SCREEN.

2 INT. UNMARKED VAN - IN MOTION - NIGHT 2
The driver is EDDIE DOMINGUEZ. And riding in the passen-
ger seat is a man dressed in black, called FOUCHET. He
looks to the rear.
FOUCHET
What's taking so long back there?
CUT TO:

REAR
Where the rest of the gang waits. NOAH, KUNI, FERGUSON,
and CASPER. All dressed in black like Fouchet, except
for ANDY. He stands and shows off his Miami PD uniform.
His English is poor, yet he's got a big, happy-to-be-
along grin on his face.
ANDY
How do I look? Like the real
thing, yeah?
FOUCHET
Step back and lemme get a good
look at you.

CLOSE SHOT - REAR VIEW MIRROR
THROUGH which Eddie can watch the action. Andy steps
further to the rear, almost to the door, facing the
front.
FOUCHET
Tell me again about your
assignment, Andrew?
ANDY
I'm the decoy.
FOUCHET
Right you are.
Over the seat Fouchet reveals a SHOTGUN. BOOM!

2.
3 EXT. VAN IN MOTION 3
Andy's body is blown through the rear doors as the van
turns a corner.

4 INT. VAN - FOUCHET 4
He dials 911 on his cellular phone. Fouchet sounds
distressed.
FOUCHET
Please help! I just saw a
policeman shot! Send help.
Hurry! I'm at the corner of...

5 EXT. NEAR DOWNTOWN - VAN - NIGHT 5
A stream of PD CARS haul past, lights blazing and SIRENS
on full.

6 EXT. COLONY HOTEL (SOUTH BEACH) - NIGHT 6
Crowds moving up and down Ocean Blvd. Beautiful people
walking. Beautiful people watching. MUSIC BLENDS from
nightclub to nightclub. A POLICE RADIO, holstered to the
hip of a street cop. It CRACKLES with:
POLICE RADIO (V.O.)
Report of an officer down. Be
advised, all units. Corner of
Lennox and Taylor.
Slipping by the street cop: Intro MARCUS BURNETT and
MIKE LOWREY. They shimmy through the hotel doors.

A7 INT. COLONY HOTEL - NIGHT A7
Where the buffed DESK MANAGER gets off the phone to
greet the effeminate pair.
LOWREY
Good evening. I'm Mike --
BURNETT
-- And I'm Marcus.
LOWREY
We're lookin' for a couple of our
Latin friends who checked in a
little while ago. You might
remember them?
(CONTINUED)

3.
A7 CONTINUED: A7
BURNETT
No chest hair. And packin'.
DESK MANAGER
I'm sorry. But our guest list is
private.
LOWREY
Oh, didn't they say? There's
going to be party! It's
B.Y.O.B.O. --
(leans in close)
The B.O. stands for baby oil.
BURNETT
Maybe you can come. Get off after
you get off?
All three of them laugh.
DESK MANAGER
Well, now that you mention it.
They were kinda cute. Suite 202.

7 INT. COLONY HOTEL - STAIRWELL - NIGHT 7
Lowrey and Burnett clip on their shields and unholster
their guns. The posing is over. This is business.

A8 INT. COLONY HOTEL - SUITE 202 - NIGHT A8
On the table are two briefcases. Each opened. One
containing cocaine. The other, cash. A pistol next
to each.

REVEAL the dealers. Two young Dominicans seated across
from the TV, getting high, drinking beer and laughing out
loud at the Spanish language version of Time Traxx.
Then --
BANG! The door's kicked in and Lowrey's first through.
Burnett on backup.
LOWREY
Police! On the floor!
But the dealers split, rolling out of their chairs. One
goes left and the other, right.
CUT TO:

4.
B8 BEDROOM B8
Lowrey tackles the first dealer to the floor. A LATINA
girl screams. Lowrey unfortunately looks and takes a
hard fist across the ear from the dealer. Angered,
Lowrey swings his pistol up underneath the perp's jaw
and knocks him through the bathroom door. Lowrey cuffs
him to the sink. Meanwhile... Back to:

8 LIVING ROOM 8
Burnett's in trouble. He's still got his gun in hand.
But the other dealer has him pinned underneath the legs
of a chair.
BURNETT
Lowrey!
Burnett stomps the bad guy's instep. The guy buckles.
Burnett rolls away and stands in front of a window, just
in time to see the angry Dominican heading straight for
him.

A9 EXT. COLONY HOTEL - CONTINUOUS ACTION A9
Burnett and the other dealer come crashing out onto the
balcony, then over onto an awning, rolling off onto some
occupied cafe tables. Patrons scatter. Uniformed cops
move in to assist.

9 LOWREY 9
appears soon after, walking down the hotel steps, leading
the Latina in his cuffs, and wearing his jacket.

BURNETT
(scraped, bruised,
pissed)
Nice backup.
LOWREY
What?
We TILT UP as POLICE HELICOPTER flies overhead.

10 EXT. MIAMI BEACH SKYLINE - TITLE SEQUENCE - NIGHT 10
As OPENING TITLES RUN and MUSIC POUNDS -- we FLY OVER the
causeways, waterways and hotels that line the beach.
Something is happening in the balmy city as we CRUISE
downtown and ZERO IN ON...

5.
11 EXT. MIAMI'S OLDEST POLICE STATION (DOWNTOWN) - NIGHT 11
The HELICOPTER ROARS low over the rooftops toward the
causeway bridge.

12 EXT. POLICE STATION - ROOFTOP - FOUCHET - NIGHT 12
As the helicopter passes over, he appears from behind a
large exhaust port. Casper, Ferguson, and Noah behind
him, all wearing high-tech miner's helmets with built-in
radio headsets, and an array of high-tech tools.
FOUCHET
It's time.
The team crosses the roof to a huge air conditioning
unit. They climb inside, carrying a six-foot-long metal
case and what looks like a black scuba tank.

13 INT. AIR UNIT/SHAFTS 13
Though it's windy and cramped in here, at least it's
cool. From a prone position, Fouchet puts on his night
vision goggles and reveals a palm top computer. Quickly
he scrolls through the labyrinthine schematics loaded
onto the unit. TILT DOWN to see the various ducts.
Endless. Bottomless. But clearly, Fouchet's a man who
knows his way.

14 INT. POLICE STATION - SERIES OF SHOTS - NIGHT 14
Seemingly empty. From squad rooms to locker rooms to
booking.

15 INT. EVIDENCE ROOM - GUARD STATION 15
OFFICER BILL O'FEE, 50s, reads a magazine and drinks
coffee. Video monitors in front of him show the
different lockers inside the evidence room. We see one
room with stacks upon stacks of heroin.

16 IN AIR UNIT 16
The team, attached to cables, slide into the building's
guts and disappear. STATIC CRACKLES:
FOUCHET
We're in. Start the video.

6.
17 EXT. POLICE STATION - ALLEY - NIGHT 17
Kuni finds the conduit he's looking for, splices it,
cuts into it with a Makita battery-powered circular saw,
then attaches a handheld high-8 video machine and starts
the video feed. The unit is strapped to the conduit.

18 INT. GUARD STATION - NIGHT 18
The MONITORS FLUTTER, then STABILIZE. Turning the page,
O'Fee sugars his coffee.

19 INT. TRASH CHUTE ROOM - NIGHT 19
An air vent smashes to the floor. Two guys pull the
metal case inside the room.

20 INT. EVIDENCE ROOM - HEROIN LOCKER - NIGHT 20
BANG! Another air conditioning vent grate crashes to
the floor. Their headlights blazing, two men clamber
into the cavernous room, Fouchet along with Casper. This
is the special Drug Holding Room: The lock cuts like
butter and the steel door is yanked open. One hundred
million dollars in heroin. Each kilo brick is stamped
with a distinctive octopus logo.
FOUCHET
(into mic)
Where's Deputy Dog?
FERGUSON (V.O.)
(over radio mic)
He made us.

FOUCHET
Then do him, now!

21 GUARD STATION 21
Sure enough. As O'Fee stands from his desk --
CUT TO:

22 VENT ABOVE 22
Where Ferguson is waiting with an air-powered tranquil-
izer gun. He cuts loose a silent round that strikes
O'Fee at the base of the neck. O'Fee stops. But before
he can think to reach back at what hit him, his knees
buckle and he drops to the linoleum. Out cold.

7.
23 INT. POLICE STATION - QUICK SHOTS - FERGUSON - NIGHT 23
One by one he moves backwards through the various levels
of locks, torching each to look as if they'd entered the
evidence room from inside the PD station.
Meanwhile --

24 TRACH CHUTE ROOM 24
Noah removes what looks like a flattened bobsled with
large urethane wheels from the metal case and places it
inside the air shaft.
Ferguson attaches the black "scuba tank," labeled
"NITROUS OXIDE," to a valve. This is connected to a
metal-cased cable system that is piston-gunned into the
floor.
CUT BACK TO:

25 HEROIN LOCKER 25
Fouchet and Casper moving the stacks of heroin, placing
them in the air duct on the bobsled. Once they're done,
we hear RADIO GARBLE, then the sled is cabled to the con-
traption. A button is pushed -- and the sled is pulled
at breakneck speed through the duct.

26 EXT. POLICE STATION ALLEY - NIGHT 26
Bag after bag drops down the trash chute and tumbles into
an open-roofed van where the last of the gang, Eddie
Dominguez, waits with the ENGINE RUNNING.

27 IN AIR DUCT 27
The sled rockets by again -- WHOOSH -- loaded with more
bags.

28 INT. HEROIN LOCKER 28
Casper and Fouchet throw the last of their gear down the
chute and ride the sled out.

29 EXT./INT. VAN - POLICE STATION - ALLEY 29
One! Two! Three! Four! They all land atop the bags.
Eddie GUNS the VAN, which rolls up the ramp and out the
garage.
(CONTINUED)

8.
29 CONTINUED: 29
FOUCHET (O.S.)
Haul ass!

30 EXT. POLICE STATION - ALLEY - NIGHT 30
On the ledge the tape runs out and RECORDER EXPLODES.
Pieces scatter.

31 EXT. STREET - NIGHT 31
The van drives off into the golden sunrise of Miami.
TITLES END.

32 EXT. LUXURY HIGH-RISE (COCONUT GROVE) - MORNING 32
One of those expensive condo buildings on Brickell Avenue
with a circular driveway and a uniformed doorman.

33 INT. CONDO - MORNING 33
CAMERA TRACKS THROUGH expensive and trendy bachelor's
lair. State-of-the-art everything, gorgeous artwork.
Spectacular view.
CAMERA STALLS ON -- a perma-plaqued newspaper clipping
with a photo depiction of Lowrey and Burnett in front of
a giant pile of black heroin, thumbs up to the camera.
The headline reads: MIAMI PD RECORDS RECORD HEROIN BUST.

34 INT. LOWREY'S BEDROOM - MORNING 34

Where Lowrey wakes up in a king-sized bed. The pain on
his face and empty, scattered bottles tell us he's
nursing a world-class hangover. He sits up, carefully,
holds his aching head. Hearing BREATHING, Lowrey lifts
the sheet next to him.

REVEAL THE LATINA
The one from the Colony Hotel. He drops the sheet back
over her head, reaches over to his nightstand and grabs
an industrial-sized bottle of Excedrin. Empty. He opens
the nightstand drawer, extracts another bottle. Empty.

BAD BOYS - Rev. 6/22/94 9.
35 INT. BATHROOM 35
All marble and brass. Lowrey opens up his medicine
cabinet. Locating a new bottle of aspirin... he suddenly
realizes that the SHOWER is RUNNING. Confused, he pulls
open the shower curtain slightly. From the back, it's an
incredible body, then she turns around and it's --
THE LATINA
Yes. The very same as the one he just saw in bed. What?
LATINA TWIN
'Morning.
Lowrey closes the curtain on her. Frowns at this
impossibility. He steps back into the doorway and peers
over at his bed. Yep, same face. Twins?
LOWREY
(shaking his head)
Oh man...
He tears open the bottle of aspirin. Chug-a-lugs.

36 INT. BURNETT HOUSE - BEDROOM - MORNING 36
Burnett and his young wife, THERESA, are jarred awake by
the CLOCK RADIO BLARING on the night stand. Theresa
gropes for RADIO, shuts it OFF. Burnett playfully gropes
for her.
THERESA
Marcus, what are you doing?
BURNETT
We're always saying we should
spend more quality time together.
Well, I got the time... and you
got the quality...
She laughs. He kisses her.
BURNETT
I can remember when we used to
do it every morning.
THERESA
That was how we got a three
bedroom house filled with little
Burnetts.
She crawls from bed.
BURNETT
Been over a week since I've had
some quality time!

BAD BOYS - Rev. 6/22/94 10.
37 INT. BURNETT'S KITCHEN - MORNING 37
Pandemonium. There's the two-and-a-half-year-old,
MEGAN, who's taking bites of food and spitting it back
out, looking at it, then putting it back in. Six-year-
old JILL, who is playing refrigerator magnet games on the
fridge. And Marcus in the middle of it all, deftly side-
stepping his eight-year-old boy, QUINCY, who appears on
roller blades whizzing through with a hockey stick and
ball. He body-checks Jill against the ice box.
JILL
Mom, Quincy pushed me.
QUINCY
Uncle Mike showed me that move.

THERESA
Quincy, never-you-mind. And take
those things off in the house!
Jill, stop with the book and eat
your breakfast.
(then, exasperated)
Marcus, why do I always have to
discipline the kids? You play
bad cop for a second.
Alongside the kitchen screen door we see Lowrey's PORSCHE
ROAR to a stop in the driveway.
BURNETT
Kids, knock it off... or your
momma's gonna whoop your butts!
Theresa laughs in spite of herself as the kids continue
to fight. Into this craziness enters Mike Lowrey...
LOWREY
Ah, family life. Reminds me
why I stay single.
JILL & QUINCY
Uncle Mike! Uncle Mike!
LOWREY
Hiya, kids. Mornin', Theresa.
Lowrey pecks Theresa on the cheek. She recoils.
THERESA
Don't kiss me, Lowrey. I don't
know where those lips were last
night.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 11.
37 CONTINUED: (2) 37
QUINCY
Tell us some stories, Uncle Mike.
You know, the one about the
stewardess?
THERESA
Don't go tellin' my son about
your sleazy sex life?
LOWREY
I promise, Theresa. I only tell
your husband about my sleazy
sex life.
The TELEPHONE RINGS.

THERESA
I don't want him knowing about it
either! Gives him ideas.
(answers the phone)
Hello? Oh, sure. Which one of
them do you want?
Lowrey accepts the phone from Theresa and talks.
LOWREY
You're live with Lowrey.
(listens for a
long beat)
'Scuse me, Captain. I think you
mean to say, 'Get the fuck down
here, please?'
Burnett automatically pulls on his jacket, hugs the
children as Lowrey hangs up.

THERESA
Not so fast. You were going to
take the kids to school today,
remember, hon? I have a job
interview...
Lowrey rolls his eyes.

38 EXT. BURNETT'S HOUSE - MORNING 38
Burnett's following Lowrey and the kids out his front
door when his neighbor, DICK, accosts him from across
the hedge.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 12.
38 CONTINUED: 38
DICK
Hey, Marcus. Did you know we got
busted into again last night? When
are you gonna do something about this?
BURNETT
Hey, Dick. How many times I gotta
tell you? I don't work robbery.
I'm in Narcotics.
Meanwhile, Lowrey's holding the car door open as the kids
pile into the jump seat in the back.
LOWREY
Don't get your sticky fingers all
over my windows... and keep your
feet off the seats, I just had the
leather conditioned.
The kids ignore him, gleefully continuing to squirm
around. Before Burnett can get into the car, Theresa
runs out.
THERESA
Marcus... I need you to stop at
Save-More on the way home and pick
up exactly what's on the list.
She hands Burnett a long list.
BURNETT
Oh, baby. Damn.
Lowrey shakes his head.

A39 EXT. MIAMI P.D. - DAY A39
Lowrey and Burnett pull up in Porsche.

B39 INT POLICE STATION - HALLWAY - DAY B39
Lowrey and Burnett walking.
BURNETT
Twins?
LOWREY
If I'm lyin' I'm dyin'. Her
sister came down and posted the
girl's bail. And later? Man,
talk about special effects.
BURNETT
What special effects?

BAD BOYS - Rev. 6/24/94 PM A12A.
39 INT. NARCOTICS SQUAD ROOM - CONTINUOUS ACTION 39
LOWREY
Tell you later -- Mornin',
Francine. Where's the smile?
(CONTINUED)

BAD BOYS - Rev. 6/20/94 12A.
39 CONTINUED: 39
FRANCINE, a civilian employee of the narcotics unit.
She's got pictures of her children parked around her
computer desktop. And though dowdy would be a
compliment, she's usually got a pleasant smile for
the boys. Except today...
FRANCINE
Evidence room. Howard's waiting
for you.
BURNETT
Your kids are lookin' sharp,
Francine.
She smiles.

40 INT. EVIDENCE ROOM - DAY 40
Burnett and Lowrey know there's big problems when, at the
bottom of the stairwell, the first thing they see is a
yellow police tape and fingerprint team dusting a torched
lock. Problem is, the building is nothing but cops and
it looks as if the entire department is stomping all over
the evidence room.
(CONTINUED)

13.
40 CONTINUED: 40
INTRO - SANCHEZ AND RUIZ
SANCHEZ
Let's see. There's Sleepy, Grumpy,
Sneezy, Happy, Bashful... Now,
who could we be missin'?
RUIZ
Could it be... Dopey?
Both laugh hysterically, while:
LOWREY
If it ain't the leftovers from
Miami Vice. Fashion casualties,
lost somewhere in the eighties.
BURNETT
And the women really go for that.
Really, they do.
As Burnett and Lowrey duck the tape, they note a very
groggy O'Fee over in the corner being attended by a
paramedic team. He's still out cold. An oh shit look
passes between the two partners.

41 INT. HEROIN LOCKER - DAY 41
Another torched lock noted as Burnett and Lowrey enter
with Sanchez an Ruiz behind them. The room is emptied.
Captain HOWARD appears. He's short, has a military
haircut, and has a minor Napoleon complex and a major in
paranoia.
HOWARD
Nice of you to roll in. And
nothing particular is going on
around here except, maybe, your
dope is gone. That's right. The
biggest dope bust in the history
of this department up and walked
out of this locker, along with
maybe my job and the two of yours
if we don't get the shit back.
BURNETT
This can't be happening.
(CONTINUED)

BAD BOYS - Rev. 6/21/94 14.
41 CONTINUED: 41
HOWARD
So here's what we're gonna do.
Since it was originally your
case, you two guys are on point.
Sanchez and Ruiz, you back them
up with whatever they need.
Groans all around.
LOWREY
So I guess we should start with
the C.I.s and the perps from the
original case. But hell if I
know any dope dealers with the
balls to pull this off. They're
either dead or in the lock-up
pending trial.
BURNETT
How's O'Fee?
SINCLAIR (O.S.)
Oh, he'll be just fine.
From the side appears a cigar-chewing Internal Affairs
suit named SINCLAIR. He circles close to Burnett and
Lowrey, waving his cigar as he speaks.
HOWARD
Name's Sinclair. Internal
Affairs. He's our new proctologist.
SINCLAIR
You see, what's got me confused
is, why risk leaving a witness?
Why not kill O'Fee instead?

BURNETT
Because maybe this guy knows if
you kill a cop the whole
department'll get up his ass
hard and fast.
SINCLAIR
And who knows that better than
anybody else? Cops.
BURNETT
You're not sayin' this was an
inside job. Cops wouldn't pull
this shit.
(CONTINUED)

BAD BOYS - Rev. 6/21/94 15.
41 CONTINUED: (2) 41
SINCLAIR
Not just cops. Narcotic cops.
For example, the S.N.D. You've
got access. You've got
wherewithall. And most
importantly, you've got the
connections. Who else would know
how to unload a hundred million
dollars worth of heroin?
LOWREY
Hey, fuck you and your cheap, off-
the-rack suit.
HOWARD
Enough. I.A.'s in it and there's
nothing we can do about it. If
any of this leaks, the shit's
gonna hit our biggest fan.
Remember him? The mayor? He
created us and you can bet your
jobs, boys, he'll rip us into
little cop pieces. I figure we
got seventy-two hours to find the
dope and keep our jobs.
LOWREY
Nothing like a little old-fashioned
incentive.

CLOSE ON BURNETT
He walks to the center of the room and kneels to those
four bolt holes in the floor. He fingers the paraffin
filler, then looks above to the air conditioning grate.

BURNETT
What about the air conditioning?
HOWARD
So what about it?
BURNETT
(to Lowrey)
What do you think?
LOWREY
I think you should go ahead,
crawl up and give it a good
look.
BURNETT
Why me?
(CONTINUED)

BAD BOYS - Rev. 6/21/94 15A.
41 CONTINUED: (3) 41
LOWREY
For one, it was your idea. Two,
while my suit's fresh, you're
dressed for the occasion.
BURNETT
Don't say nothin' about my
clothes. I paid for these.
LOWREY
And I don't?
BURNETT
Not on a cop's salary.

16.
42 INT. HEROIN LOCKER - INSIDE SHAFT - BURNETT 42
Burnett crawls up with some help from Lowrey below,
stalling the oscillating fan with his cuffs and crawling
through. The first thing Burnett notices are the track
marks from the bobsled cutting through a coating of dust.
LOWREY
Anything?
BURNETT
Yeah. I got some weird track
marks in here.
Then Burnett notes a manufacturing stamp at the joint.
It reads: ORONA AIR CONTITIONING SYSTEMS, INC.

43 INT. HEROIN LOCKER ROOM - ON HOWARD 43
Who appears from below, framed in the vent shaft.
HOWARD
Nice and cool up there, Burnett?
Comfy? Maybe there's a new career
for you in building maintenance.

44 INT. SQUAD ROOM - DAY 44
Lowrey and Burnett with their desks opposite each other.
The CAMERA CIRCLES while they lay the arm on some
informants.
BURNETT
There's gonna be a lotta cash
when the dope hits the street.
We want you to put the word out
through your bank and hustle the
account. You help us, maybe we
can see about getting those R.T.C.
auditors off your ass.
LOWREY
Listen, Cedras. You and I both
know you're the number one importer
for the Simona Brothers. And I'm
tellin' you there's a buttload of
H on the move and someone's gonna
wanna stick their dick in it. So
it better not be yours. You hear
something? You call us. You hear
nada? You better get the fuck
outta town.

BAD BOYS - Rev. 6/24/94 PM 17.
45 INT. UNMARKED CAR - DAY 45
Lowrey's driving, no seatbelt, doing his usual speed-
weaving. Burnett's hanging onto the handle above the
door.
BURNETT
Not a fucking lead. So now that
we've done the obvious, we need
a shortcut.
LOWREY
Okay. So we talk to Max.
BURNETT
Huh uh. Not this time. I'm
tired of you working pussy into
everything we do.
LOWREY
You got a better idea?

A46 EXT. CONGRESS GYM - ESTABLISHING - DAY A46
Lowrey and Burnett arrive in the unmarked car.

46 INT. CONGRESS GYM - DAY 46
Once-colorful stucco, fading and crumbling. Scrappy
Cuban fighters spar and work out on the aging equipment
while, at the same time, a remarkable amount of amazing-
looking women work out on weight bags, shadow box with
trainers. Curves and sweat, any way you look.

BURNETT AND LOWREY

enter. And while Lowrey cruises amongst the sweaty flesh
as if it were a day in the park, Burnett lags. Maybe he
has been married too long.

CLOSE ON MAX LOGAN
she's doing sit-ups on an incline bench. She notices
Lowrey.
MAX
Hi, Mike. You come to work-out?
LOWREY
Raincheck, darlin'. Gotta talk.
Anyplace we can go?
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 18.
46 CONTINUED: 46
MAX
Equipment room. Hiya, Marcus.
How's your wife?
BURNETT
Huh?
MAX
That's what I thought.

47 INT. EQUIPMENT ROOM - DAY 47
This room isn't enclosed. It's walled by wire mesh.
Private enough, though. Max shuts the door.

LOWREY
Sorry to come around only when
I need something.
MAX
Forget about it. I owe you the
rest of my life, Mike.
Lowrey just gives her an "oh please" look.
MAX
Don't be lookin' at me like I'm
getting all sentimental.
LOWREY
Hey, I didn't open my mouth.
Listen, there's some major, major
ill shit happening down at the
P.D. Lotta heroin involved. There's
gonna be a lotta cash involved, too.
Gonna be some happy motherfuckers
around that wanna party.
MAX
So you want me to check around?
LOWREY
Just make a coupla calls. See what's
what. Don't be doin' no wild shit.
Just call me if you hear something.

48 INT. BOXING GYM - DAY 48
Burnett is surrounded by beautiful, sweaty women. One of
them is a fabulous BLACK WOMAN with legs so long and
toned, they're not just legs, they're weapons. Burnett
can't help but stare.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 19.
48 CONTINUED: 48
BLACK WOMAN
Who's Max's friend?
BURNETT
A cop.
BLACK WOMAN
Oooh. I love cops.
The other girls are suddenly interested, too. Burnett
swallows and...
BURNETT
You know? I'm a cop. I shot
somebody just last week. Didn't
kill him, just shot him in the
ass.
Stone cold looks from them all. They walk away with
Burnett giving a "what did I say" look. Lowrey appears.
LOWREY
You know, that was really smooth.
Think you could do that again?
(as they start
walking)
Ohh. I'll tell you, when the wife
gets meaner, the grass gets greener.
BURNETT
Green ain't the color I was
thinkin' of. More of a coco puff.
Just real shiny, thick...

49 EXT. BOXING GYM 49

As they head toward their car, Burnett's BEEPER SOUNDS.
He switches it OFF.
BURNETT
Damn! The woman's got fuckin'
radar on my ass. Sensed me
lookin' at another woman. Bet
she wants me to pick up Huggies
'stead of those baby Garanimals
that they wear.
LOWREY
I don't think anybody could be
that married.

BAD BOYS - Rev. 6/24/94 PM 19A.
50 INT. UNMARKED POLICE CAR - IN MOTION - DAY 50
Burnett drives cautiously while both he and Lowrey bob
to Ice-T's "COP KILLER." They get a kick out of the
song.
LOWREY
(complies)
Miami's the perfect town for you,
Burnett. You drive like a one-
hundred-seven-year-old lady with
her turn signal on.
BURNETT
And I plan on living to be old
just like 'em. Rubbin' Ben Gay
on my joints and everythin'.

An old guy passes them even though his car is pulling
an Airstream camper behind it. Lowrey can't believe it.
LOWREY
You gonna let every old
motherfucker pass you? Or just
the ones with big-ass trailers
draggin' behind? A-c-c-el-er-ate.
BURNETT
I don't have a death wish like
you. I got a family that counts
on me. A mortgage to pay. And
I'm not sayin' it's me, but most
of the guys in the station think
you're some rich kid playin' cop.
LOWREY
Who said that?

Burnett mumbles an answer.
LOWREY
If somebody's talking about me, I
wanna know... Man, I'm so sick of
this. I don't apologize for
nothing I do. I get up early and
take it to the max every day. I'm
always the first guy through the
door. And the last guy to leave a
crime scene. So fuck 'em all. I
could give a shit what those boot
lickin', brown-nosin', ass kissin'
motherfuckers think of Mike Lowrey.
What can Burnett say to all that, but...
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 20.
50 CONTINUED: 50
BURNETT
I love you, man.
He lets loose a big grin.
LOWREY
Oh, fuck you, Marcus.
The RADIO CRACKLES.
DISPATCHER (V.O.)
(over radio)
Two-one? I got that address for
you on the air conditioning
company. Oh, and Theresa called,
she added something to your grocer
list: Muppets toothpaste. Bubble
gum flavor. She says Quincy
doesn't like mint.
Lowrey rolls his eyes, glances at Burnett, who's
embarrassed.
LOWREY
Yeah. Roger that. Gimme the
address.
DISPATCHER (V.O.)
Orona's been working out of his
house. He's at...

51 EXT. KEY BISCAYNE ESTATE - ESTABLISHING - DAY 51
Burnett and Lowrey step from their unmarked car and
start up the steps to this stony, estate-sized house.

LOWREY
The air conditioning business
has been good to Orona.
Lowrey rings the bell. They wait. No answer.
BURNETT
Well, we can leave a note or we
can break and enter --
LOWREY
Wait. Hear that? I thought I
heard Orona beating his wife.

BAD BOYS - Rev. 6/24/94 PM 21.
52 INT. ESTATE - REAR DOOR 52
Lowrey kicks the door in.
LOWREY
Uh oh. No alarm.
BURNETT
Aw, man. Did you cut one?
LOWREY
No, man. Musta been you.
BURNETT
Not me.
Lowrey and Burnett look at each other and draw guns.

LOWREY AND BURNETT
Dead guy.

53 INT. ORONA'S DEN - DAY 53
The door is unlocked and swings open easily to reveal
Lowrey and Burnett in an instant, repulsed reaction to
Orona's body which sits upright in his office chair, the
body grotesque and bloated.
LOWREY
Now what?
A sickened Burnett goes over to the body, speaking to
Orona as if he were alive.
BURNETT
Where are the drugs?
(no answer)
Where... are... the... drugs?
(shrugs)
He ain't sayin' nothin'. He must
be guilty of somethin'.
Meanwhile, Lowrey's got no problem with the dead body.
He tries opening a desk drawer, but Orona's rigor mortis-
stiffened knee is in the way. So Lowrey gives it a shove
and the chair swivels. Orona's dead arm sweeps the lamp
off the desk.
BURNETT
Whoa. Watch where you're swinging
them dead arms, Orona. You're
gonna fuck up your own crime
scene.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 22.
53 CONTINUED: 53
Lowrey braves the body and gingerly pokes around his
pockets.
BURNETT
Watch what you touch. That's
evidence.
BURNETT
Not touching. Browsing... Mr. Orona.
You've got the right to remain
silent. Anything you say'll
surprise the shit out of us.
BURNETT
Anything?

LOWREY
(finds small notepad)
Jai-Alai. Dog track. Lotta
bookies. Phone numbers.
BURNETT
Lemme guess. Guy does the air
conditioning contract for the P.D.
He'd have the plans.
LOWREY
He trades the plans for his paper
and gets popped by the perps.
BURNETT
Works for me. Now can we go?
I'm gonna puke.

54 EXT. LOIS FIELD'S MANOR - SUNSET 54

A Palm Beach styled antique.

55 INT. LOIS FIELD'S MANOR - SUNSET 55
As antique as the exterior. Well-tended. Lots of potted
ferns amongst rattan and craftsman era furniture.
Enter --

LOIS
Matronly, in her flowered dress and bare feet, she
carries a tea tray toward the kitchen. Max is following.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 23.
55 CONTINUED: (A1) 55
MAX
Please, Lois. Make some calls.
That's all. I'm looking for a
party with fresh cash.
LOIS
I'm not doing any favors for
Mike Lowrey.
MAX
Then call it a favor for me.
Please?
LOIS
Okay, then. I'll make the calls.
But you have to talk to Julie.
MAX
I'll talk to her but she's not
into it.
LOIS
All you have to say is that
she'll be getting paid for what
she already does for free.
(CONTINUED)

BAD BOYS - Rev. 6/21/94 24.
55 CONTINUED: 55
MAX
And she'll say, 'There's one big
difference. I do it for fun. I
don't ever have to blow anyone I
don't like.'
CUT TO:

56 FRONT DOOR 56
It swings open to reveal JULIE MOTT, 24, just as
beautiful as Max and dressed to be undressed. She drops
one of those big, model's shoulder bags to the floor and
gazes curiously back at Lois and Max. Her ears are
burning.
JULIE
Okay. So what'd I miss?

A57 EXT. BILTMORE HOTEL (MIAMI BEACH) - MAGIC HOUR A57
The hotel bustles with activity. Cabs pull up. Doormen.
Bellhops. Rich people.

57 EXT. BILTMORE HOTEL - COURTYARD - DUSK 57
As Max and Julie walk through...
MAX
George?
JULIE
Bad moods after a bad round of
golf... I had blonde hair, then.
MAX
What about Ronny?
JULIE
Sex addict. Coke addict.
Redhead.
MAX
You were a redhead?
JULIE
Only for two days. It wasn't
even a phase.
MAX
Okay. Mark.
(CONTINUED)

BAD BOYS - Rev. 6/21/94 25.
57 CONTINUED: 57
JULIE
Oooh. Bad loser and bad, bad
blonde. Farrah, frosted kinda
big bad blonde. Oooh.
Max laughs.
JULIE
But that's my point. I remember
my hair phases more than I
remember the men.
(playful, sarcastic)
So, a party in a Biltmore Hotel
suite? Yeah, that'll really rock.

MAX
It's a favor for a friend. If it
sucks after a half-hour, we'll
split and head to South Beach.
JULIE
A favor?
MAX
You know, my friend Mike Lowrey.
JULIE
(rolls her eyes)
Mike Lowrey. Not again. Will you
just have sex with the man and get
it over with.
MAX
He's just a friend.
JULIE
Yeah, right. You're in love.
MAX
It's never gonna happen. I'm
great at turning lovers into
friends. But turning friends
into lovers, I can't do.
JULIE
Well, I don't date cops. They
never have enough money and
they're always too tired to
screw.
MAX
Well, I've told you before, my
Mike isn't like that. If I were
in real trouble, Mike Lowrey is
the only person I'd call.

BAD BOYS - Rev. 6/21/94 25A.
58 OMITTED 58

59 INT. BILTMORE HOTEL - AL CAPONE'S SUITE - DUSK 59
Upon arrival, the door is opened to Max and Julie by
Eddie Dominguez, instantly recognizeable from the heist.
Eddie's pouring champagne into a glass.
EDDIE
Max, my little carina. It's
been a long time. And who's
your friend?
MAX
Eddie. Julie.

Julie sizes him up. Good taste. His suit. Bad taste.
His personality.
EDDIE
Come on, Julie. Come in, Max.
Welcome to the Al Capone suite.
Thev're stepped into a grand, opulent suite. High
arched ceilings. Magnificent antique furniture. Killer
view. No party guests.
EDDIE
I'm not kidding. Capone had
the place fixed up with secret
passages and hidden stairways.
Can you dig it? People were
actually killed within these
walls.
He's moved behind them and reveals a concealed staircase
that rises into darkness.

CLOSE ON JULIE
Not happy. Stuck at the Biltmore with a Scarface
wannabe. She looks over at Max. Let's get outta here.
JULIE
Excuse me? I need to use the
bathroom.
Julie crosses to the bathroom.
EDDIE
Wow, Maxi. I thought you dropped
off the edge of the earth and died.
Either that or you moved to
California.
(CONTINUED)

BAD BOYS - Rev. 6/21/94 25B.
59 CONTINUED: (A1) 59
MAX
So, Eddie. Looks like we're
way too early. How's about we
come back later?
(CONTINUED)

26.
59 CONTINUED: 59
EDDIE
No. Don't go yet. We can
party. Just us three. Look at
what Eddie's got to play with.
From underneath the couch Eddie reveals a single key of
heroin. Max tries to hide the recognition that she just
hit paydirt on the very first try.

60 INT. BATHROOM - JULIE 60
Where she's silently cursing Max for getting her into
this lame-ass party when she hears MUFFLED VOICES outside
the bathroom. Instinctively, Julie peers through the
louvered shades.

61 JULIE'S POV - THROUGH SHADES 61
She sees Eddie opening the door to Fouchet. Casper and
Noah follow him inside.
CUT BACK TO:

62 INT. AL CAPONE SUITE 62
Eddie is instantly nervous in the presence of Fouchet.
FOUCHET
Who's the girl, Eddie?
EDDIE
Just a hooker --

MAX
My name's Max.
(outstretched hand)
I'm just a friend.
FOUCHET
I could use a friend who looks
like you. Turn around. Lemme
get a good look.
Max tries to size this man, then chooses to submit. She
does her best model's turn. Slowly giving him a view of
the rear when --
Fouchet draws a PISTOL -- BAM BAM!!
Max tumbles forward and CRASHES through a GLASS TABLE.

27.
63 INT. BATHROOM - JULIE 63
Instant horror. Julie saw Max killed and retreats to
the opposite side of the bathroom in total fright.
CUT BACK TO:

64 INT. CAPONE SUITE 64
Now, Fouchet swings the gun onto Eddie.
FOUCHET
You're a fucking idiot. Hookers
talk. Now, is that my dope?
EDDIE
(freaked)
Our dope... That was the deal,
yeah? Right. Until we got the
money --
BAM! Fouchet SHOOTS Eddie in the knee. Eddie screams!
EDDIE
You fucker... fucker fucker
fucker!!!
FOUCHET
I have four more days until I
make the deal. When it's done
you get your money. Now, what
part don't you understand?
EDDIE
Hey, man. You need me.
FOUCHET
I don't need anybody. I got three
little angels looking over my
shoulder.

REVERSE SHOT - EDDIE'S CHAIR
Fouchet UNLOADS THREE MORE SHOTS. BAM BAM BAM!!! Blood
spatters onto Casper.
CASPER
Aw, man. You got blood on my
new suit.
FOUCHET
Ever hear of dry cleaning? Now,
shut the fuck up, check for the
rest of my dope.

28.
65 INT. BATHROOM - JULIE 65
Half-panicked, half-trying to keep her head. There's no
way out of the bathroom. All she can do is switch off
the light. And now she sees Casper's shadow as he
approaches.

CLOSE ON DOORKNOB
As it turns. Julie suddenly reaches for it and pulls
open the door with a surge. Casper stumbles in, his
face hitting the hard tile with a crunch.

66 INT. CAPONE SUITE - JULIE 66

Making her move, she hauls as fast as she can across the
room. Aiming for that secret fireplace door.

FOUCHET
Wheels with his PISTOL, unloads the clip. BULLETS are
catching up, ripping up the couch and the rest of the
suite. Julie dives right into the secret door.

67 INT. SECRET PASSAGEWAY - SAME TIME 67
Dark. Twisting. We MOVE WITH Julie as she races through
it, heart in her throat. She comes upon some old metal
stairs, a sliver of light at the top, and clambers up...

68 EXT. BELL TOWER - NIGHT 68
High atop the Biltmore, this is where the passageway
leads out to. A door flies open and Julie appears.
Panicked. Wind whipping all around her. A bird flies
by, startling her. Hearing the APPROACHING THUGS, Julie
sprints as best she can across the Spanish-tiled roof.
Turns to see --

69 EXT. BELL TOWER - NIGHT 69
Noah and Casper appear in the Bell Tower. Noah scans
the roof, takes aim and FIRES, but he's too far away --
and Julie disappears behind a rise in the roof.

70 EXT. BILTMORE - ROOFTOP - JULIE - NIGHT 70
She steps towards the edge of the roof. Quickly peers
over. A huge swimming pool, five stories down.
(CONTINUED)

29.
70 CONTINUED: 70
She weighs the options. Jump or die.

NOAH AND CASPER
As they try running across the harsh-tiled roof...
CASPER
Now look. My fuckin' shoes. My
fuckin' Italian shoes!
Then Julie prays silently, takes a running start and
leaps from the roof. SLOW-MOTION as Julie flies through
the air like some glamorous angel.

71 EXT. BILTMORE POOL - UNDERWATER - NIGHT 71
as Julie breaks the surface with a huge splash. The
water swirls as her aching body struggles to the surface.

72 EXT. BILTMORE POOL - SURFACE - NIGHT 72
Julie breaks water like a dolphin, gasping for breath.
She's dazed and confused, but alive -- for the moment.

73 INT. AL CAPONE SUITE - NIGHT 73
Fouchet reaches down and picks up Max's purse, then
flicks it across the room to the defeated pair of Casper
and Noah.
FOUCHET
She's a hooker. Find out who
she works for. Find out where
she lives.

74 EXT. BILTMORE HOTEL - HALF-HOUR LATER 74
Several police cars, an ambulance and a coroner's van
are now parked in front, the lobby awash in strobing
red and blue lights. CAMERA PANS PAST the crime scene
personnel to find Burnett and Lowrey pulling up to the
scene. They get out and thread their way through the
growing chaos.

75 INT. BILTMORE - AL CAPONE SUITE - NIGHT 75
The place is a mess. Homicide detectives are already on
the scene, drawing chalk circles around casings on the
floor.
(CONTINUED)

30.
75 CONTINUED: 75
On the far side of the commotion, the two bodies have
been photographed and are covered. Chief Howard is
conferring with a technician who's dusting for prints.

BURNETT AND LOWREY
enter.
But Sanchez and Ruiz are already on the scene.
RUIZ
You guys watch where you're walking
or you'll fuck up the crime scene.

BURNETT
Looks like you're already doing
that.
Burnett's quick to point out the trail of bloody foot-
prints Ruiz just tracked across the carpet.

CLOSE ON CHAMPAGNE GLASS
Which Julie left on the fireplace mantel. Lowrey's quick
to note the two separate shades of lipstick.
HOWARD
Two dead. A hood registered as
Eddie Dominguez and some Jane
Doe. But the table over there's
covered in high-grade dope. Sound
familiar?
LOWREY
I think we got us a witness.
Over here I got two different
shades of lipstick on one
champagne glass.
Meanwhile --

BURNETT
He drops the sheet on Eddie's body, then moves over to
Max's. He doesn't know it's her until --
BURNETT
Jesus, no...
LOWREY
Whatcha got?
(CONTINUED)

31.
75 CONTINUED: (2) 75
Burnett drops the sheet, turns and puts a protective
shoulder between Lowrey and the body.
LOWREY
What? Who is it?
Lowrey instintively pushes past his partner and kneels
at the body. He pulls back the sheet. Right now he
could kill the shooter, then himself. In that order.
Lowrey's eyes well up.
LOWREY
I shoulda told you to be careful.

76 INT. BILTMORE HOTEL - LOBBY - NIGHT 76
The elevator doors open and out step Burnett and Lowrey
into a lobby full of cops. Lowrey goes straight to the
front desk.
LOWREY
Eddie Dominguez. I want his
phone calls.
He flashes a badge.
HOTEL CLERK
You pay the bill you can see
his phone calls.
LOWREY
I'm sorry. Maybe I wasn't polite
enough.
With a flashing right jab, Lowrey pops the snooty Clerk.
After the Clerk finds his feet, eyes peering over the
counter...
BURNETT
I wouldn't fuck with him right
now.

77 EXT. BILTMORE HOTEL - NIGHT 77
Walking down the steps toward their car, Lowrey passes
the phone sheet off to Burnett.
(CONTINUED)

32.
77 CONTINUED: 77
LOWREY
Three calls to Lois Fields.
I'm going to stop by her place
and tell her a bedtime story.
You can catch a ride with Howard.
Lowrey jumps in the car.
BURNETT
Uh oh... Alright, you check out
Lois, then check in --

78 INT. LOIS FIELD'S MANOR - MASTER SUITE - NIGHT 78

Replete with balcony and billowy curtains, the old-styled
madame LOIS FIELDS sits up on her bed covered in pillows
and exotic stuffed animals. She thumbs an old, leather-
bound looseleaf binder full of modeling photos and
resumes.
LOIS FIELDS
I'm sorry, Jimmy. But you can't
have her. Shelly only models and
that's all... That's right. Like
I always say, some girls do, some
girls don't, and the rest you
can't afford --
(line cuts out)
Hello? Jimmy... Jimmy?
Suddenly, the power is cut.

79 INT. LOIS FIELD'S MANOR - FRONT DOOR - NIGHT 79

CRASH! The front DOOR breaks down. Noah appears.

80 EXT. LOIS FIELD'S MANOR - NIGHT 80
Lowrey parks the Porsche.

81 INT. LOIS FIELD'S MANOR - NIGHT 81
The door is open and the deadbolt looks smashed with
something heavy like a sledgehammer. Lowrey pulls a
radio with one hand and his pistol with the other.
(CONTINUED)

BAD BOYS - Rev. 6/22/94 33.
81 CONTINUED: 81
LOWREY
(into mic)
This is twenty-one two. I'm
gonna need back-up at 614 Reach
Road.
Lowrey eases inside the darkness of the doorway. He
checks the lights, but the power is off. Slipping the
radio into his coat pocket, he returns with a mini-
flashlight and begins to clear a path, doorway by
doorway, then moving up a wide stairwell.

82 INT. MIAMI PD - SQUAD ROOM - NIGHT 82

Howard is sitting at the edge of the desk while Burnett
is on the phone with Theresa.
HOWARD
Did you check parole? How about
F.B.I. or D.E.A.? They're
supposed to be compliant with our
requests? And where the hell's
Lowrey?
BURNETT
(hand over phone)
Following this Lois Fields lead.
I just paged him.
HOWARD
The madame? What's it with this
guy? It's always girls, girls,
girls.
BURNETT
(as Theresa screams)
No, Theresa... No, he wasn't
talking about you.

83 INT. LOIS FIELD'S MANOR - UPSTAIRS - NIGHT 83
MOVING THROUGH the doors of the master suite where a light
breeze blows through balcony of sheer curtains, Lowrey
turns ever-so-slowly with his flashlight following a beat
behind. The beam comes to rest on a bludgeoned body
laying on the bed amongst huge pillows and exotic stuffed
animals. The telephone cord is wrapped around her neck.
Lowrey's closer inspection reveals --
(CONTINUED)

BAD BOYS - Rev. 6/22/94 34.
83 CONTINUED: 83
LOIS'S CLIENT BOOK
Where an obvious page and photo have been ripped out.
Julie's. Lowrey goes for the phone. Picks it up with
his handkerchief. No dial tone. So he drops the
receiver and heads out of the room. But just as he
reaches the doorway --
Suddenly -- Lowrey's BEEPER SOUNDS.
He jumps. Reaches down to switch it off when --
From out of those billowing curtains -- Noah!
Sledgehammer in hand, he swings at Lowrey, who instinc-
tively blocks and ducks as the hammer misses and crushes
the bannister railing. It gives under Lowrey's weight,
who reaches over and traps the sledgehammer, only to find
one of Noah's hammy fists battering him behind the ear
until --
The rail finally gives way.
Lowrey falls and crashes onto a Craftsman table covered
in antique picture frames. It collapses underneath him.
Then --

CLOSE ON LOWREY'S RADIO
Laying next to him. It SQUAWKS LOUDLY...
BACK-UP COPS (V.O.)
(over radio)
Pulling up now, twenty-one-two.
Give us your twenty in the
residence... twenty-one-two. Do
you copy. Twenty-one-two...
The CAMERA LIFTS to reveal that Noah has vanished.

84 INT. MIAMI PD - SQUAD ROOM - NIGHT 84
Howard can't believe his ears. Is every cop's wife such
a pain in the...
BURNETT
Theresa, I know it was my idea. I
know I was the one who wanted a
little quality time. It's just
that this can't wait. Can't I
just wake you up when I get home?
(CONTINUED)

BAD BOYS - Rev. 6/22/94 35.
84 CONTINUED: 84
Lowrey's PHONE RINGS. But Howard's close so he picks it
up.
HOWARD
It's about fuckin' time.
(answers)
Howard here.
INTERCUT WITH:

85 INT. JULIE'S APARTMENT - JULIE 85
This small place is a typical, party girl pit stop. Very
little furniture, but closets overflowing with clothes.
Magazines, beer bottles, unmade bed. Wet and frightened,
Julie scurries around with a cordless phone at her ear,
locking all the doors and windows.
JULIE
I need to talk to Detective Lowrey!
HOWARD
He's not here. How can I help you?
JULIE
You can get me Detective Lowrey!
HOWARD
This isn't another paternity
case, is it?
JULIE
No. It's another murder case.
HOWARD
Did this happen at the Biltmore
Hotel?
JULIE
Listen! I just saw my best friend
murdered. I'm soaking wet. I'm
alone, I'm scared and I'll only
talk to Mike Lowrey!
HOWARD
Don't hang up. Lemme find him.
(hand over phone)
Page Lowrey. Find out where he
is!
BURNETT
Theresa. I gotta go.
Burnett hangs up and redials Lowrey's pager.

BAD BOYS - Rev. 6/21/94 35A.
86 EXT. LOIS FIELD'S MANOR - NIGHT 86
Lowrey, battered and barely conscious, is loaded into an
ambulance. His BEEPER SOUNDS.

87 INT. JULIE'S APARTMENT - JULIE 87
She's so frustrated she's about to hang up.
(CONTINUED)

36.
87 CONTINUED: 87
JULIE
I don't want to come downtown! I
don't want police protection! If
you can't gimme Detective Lowrey
I'm just gonna blow town!
INTERCUT WITH:

88 INT. SQUAD ROOM - HOWARD AND BURNETT 88
HOWARD
Don't leave town. Please, and
don't hang up. I've got Lowrey
right here. He just walked in.
(holds the phone
to Burnett)
Be Lowrey.
BURNETT
I can't be Lowrey.
HOWARD
Shut up and listen! She'll only
talk to Lowrey. She says she's
our witness. That means she's our
only link to the dope, not to
mention my pension plan, so get on
the phone.
Burnett accepts the phone. Hand over the receiver, he
does a quick Lowrey impression that starts as lame and
ends pretty damn convincing.
BURNETT
Yo, you are live with Lowrey...
(then into phone)
Yo, you're live with Lowrey.

89 EXT. RESIDENTIAL STREET - NIGHT 89
Burnett's Volvo turns onto the block. He pulls over on
the opposite side of the street and parks, his car
blending in with others in the residential neighborhood.
He gets out, crosses to the lobby of her building.

90 EXT. JULIE'S APARTMENT - NIGHT 90
Burnett knocks on the door.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 37.
90 CONTINUED: 90
He notices his gold wedding band, hastily removes it.
Just as he drops it into his jacket pocket --
JULIE (O.S.)
Who's there?
BURNETT
Mike Lowrey.
INTERCUT WITH:

91 INT. JULIE'S APARTMENT 91
She stands on the other side of the door with a baseball
bat, cocked and ready to fly.
JULIE
How do I know it's Detective
Lowrey?
BURNETT
... 'Cuz I'm Mike Lowrey. I'm a
cop. Wanna see my badge?
JULIE
Yes! I wanna see it now! I'm
not letting you through the fucking
door until I do. Hold it up to
the peephole!
Burnett shows his shield. Holds it up to the peephole.
JULIE
Anybody can get one of those.

BURNETT
(annoyed)
Hey, lady. You called me,
remember...? 'On the mike with
Mike.'
After a beat, the door swings ajar.

92 INT. JULIE'S APARTMENT - CONTINUOUS ACTION 92
But as Burnett enters the house, all he notices are that
two DOGS start YAPPING HYSTERICALLY. He can't see her.
But she can see him. From behind the door, she comes out
swinging a bat. Burnett ducks and Julie smashes the hat
stand instead.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 37A.
92 CONTINUED: 92
BURNETT
What the fuck was that for?
JULIE
You're not Mike Lowrey!
BURNETT
What do you mean I'm not Mike
Lowrey? You never even met
him! Me.
JULIE
The way Max described you was
different.

BURNETT
I'm undercover.
She doesn't believe him and swings the bat.
BURNETT
Okay. I'm way undercover.
JULIE
Prove it!
BURNETT
I knew her from way back. From
time to time, you know... We'd get
together. Mess around, you know?
JULIE
Wrong.
Julie swings for real, nearly taking Burnett's head off.

BURNETT
Okay. Okay. So I exaggerated.
It's a man thing.
She swings again, but he's had enough, he moves quickly,
catching the bat with his hand and ripping it away from
her.
BURNETT
You know what? You don't wanna
believe me? That's fine with me!
Go it alone.
Burnett heads toward the open door. Julie's veneer drops
as she shrinks to the floor.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 38.
92 CONTINUED: (2) 92
JULIE
I saw it all... I watched him
shoot her. Like she was nothing.
(trying to hold
it together)
Please shut the door.
BURNETT
You don't got any more golf clubs
or bats, do you? Nothin' that you
can swing at me, do you?
She shakes her head. He carefully steps forward.
BURNETT
Then lemme introduce myself. I'm
Mike Lowrey. And I'm here to help
you.
JULIE
You're not what I expected.
BURNETT
Yeah, well neither are you. You
swing like Barry Bonds.
Burnett nods and crosses over to help Julie to her feet.
BURNETT
Alright. Look here, I need to
know if you've called anybody.
Or if you told anybody else where
you are?
JULIE
No. Nobody.

BURNETT
Good. You got a back door?
Julie nods, scoops up one of her dogs and grabbing
another modeling bag off the table.
JULIE
Where are we going?
(as she stuffs
the dog into
the tote)
Duke!
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 39.
92 CONTINUED: (3) 92
BURNETT
Protective custody.
JULIE
(pulls away)
Whoa! Fuck that. I'll only deal
with you. Otherwise, I'll take
my chances.
Burnett's getting a "not again" look on his face when --
KUH-BOOM!
A SHOTGUN BLAST blows the front door open. Clutching the
bag, Julie races around the living room.

BURNETT
Let's go!
JULIE
Luke?! Where's my other dog?!
BURNETT
Fuck the dog!
Burnett sees the second dog cowering in the corner. So
he lunges over, scoops the dog up.
CUT TO:

93 OMITTED 93

94 FRONT DOOR 94

As the remaining parts are kicked in from the outside.
It's Casper, Noah and Kuni!

BURNETT AND JULIE
Racing through the apartment toward the back door,
Burnett wheels with the GUN and FIRES just as Kuni rounds
a corner with the SHOTGUN. The room ERUPTS with plaster
spray and NOISE. Julie shrieks, and Burnett shoves her
through the back door, then spins and FIRES. Kuni
tumbles and dies from multiple hits.

95 EXT. JULIE'S BACK DOOR - CONTINUOUS ACTION 95
Julie leads him down a metal stairway. BULLETS RICOCHET
left and right.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 40.
A96 EXT. ALLEY BESIDE JULIE'S APARTMENT - CONTINUOUS ACTION A96
FOLLOW Burnett and Julie as they race through the grungy
alley to his station wagon --

96 EXT. OUTDOOR CAFE - CONTINUOUS ACTION 96
The cafe is between Julie's front door and the Volvo.
Casper appears, FIRING his GUN. People scatter and
scream. BULLETS RIP all about.
CUT TO:

VOLVO

Burnett STARTS the ENGINE and lurches out into the
street.

97 NOAH'S POV 97
The plates on Burnett's Volvo.

98 INT. VOLVO - IN MOTION 98
One DOG starts to BARK.
BURNETT
Fine time to bark. Where were you
when they were comin' up the walk?
(beat)
Shit. Bet they got a look at my
license plates. If you saw him
again, would you remember the guy
who shot Max?

JULIE
All I remember is one of them had
really bad hair. Where are we
going?
BURNETT
I told you, I'm putting you into
protective custody...
JULIE
(cuts him off)
No way. Listen, no offense, but I
don't trust anybody.
BURNETT
Yeah. I noticed.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 40A.
98 CONTINUED: (A1) 98
JULIE
Believe me, it's not a new thing.
Especially when my life is at
stake. I read the newspaper you
know, people disappear all the
time.
BURNETT
(exasperated again)
Fine. So what do you want to do?
Where will you feel safe?
JULIE
I didn't really think about it.
I guess it's your place or a plane
ticket. Your place is cheaper.
So you choose.
BURNETT
My place? Okay, good. No, wait.
My place is wrong.
(CONTINUED)

42.
98 CONTINUED: 98
JULIE
Wrong?
BURNETT
I mean right. As in good. My
place is good. We'll go there
first.
(confirms)
My place.

99 EXT. LOWREY'S BUILDING - NIGHT 99
Burnett's Volvo pulls into the circular driveway of
Oceanview Terrace.

100 INT. VOLVO - CONTINUOUS ACTION 100
BURNETT
Wait here.

101 INT. LOBBY - NIGHT 101
Burnett walks over to CHET, the doorman, a shifty little
guy who's always got his hand out. He's sitting on a
folding chair reading Penthouse Forum.
CHET
Detective Burnett... Mr. Lowrey is
out...
BURNETT
He told me I could use the place
tonight...

CHET
Didn't mention it to me.
Chet holds out his hand. Burnett slips him ten. Chet
sneaks a peek over at the car, sees Julie putting on
lipstick.
CHET
Say. How's that Mrs. Burnett?
Burnett realizes this is going to cost him more. Gives
him another ten. But for Chet it's still not enough.
CHET
Your children good? Mr. Lowrey
says you got a regular baby
factory goin' over there.
(CONTINUED)

43.
101 CONTINUED: 101
BURNETT
(all his money)
Here. And if that's not enough,
I'm gonna run you in for extortion.
CHET
Now that I think about it, Mr.
Lowrey did mention something
about giving you the key.

102 INT. LOWREY'S CONDO - NIGHT 102
The door opens, Burnett gropes awkwardly in the dark
for the light switch. Finally finds it.

BURNETT
I forgot I had those switches moved.
Welcome to Casa del Lowrey.
Julie enters, looking left and right, cautious but
impressed by the stylish digs.
JULIE
Nice... very nice. All this on a
cop's salary?
BURNETT
I uh... I invest.
JULIE
Right. What was your last pick?
A horse in the number two race at
Pimlico? Or did a bookie give you
an inside tip.

CLOSE ON WINE RACK
Which Julie runs her hands across labels. All French.
BURNETT
-- My father invests... Listen.
You must be tired --
JULIE
I'll ask you this only once, Mike.
Are you on the take? And if you
say no and I discover you're lying
to me, I'll walk. Are we clear?
(CONTINUED)

44.
102 CONTINUED: 102
BURNETT
Fair enough. I'm not on the take.
Satisfied? Good. So... why don't
you make yourself at home? Here's
the T.V. remote. Watch yourself
some 'Gilligan's Island' reruns or
somethin'.
Hits "ON" button. Instead of TV, the room immediately
becomes a seduction den: lights dim, romantic music.
BURNETT
Heh -- all these damn things look
alike.
(switches it off)
Well, gotta run... There's probably
a couple of good steaks in the
fridge for the dogs. Help yourself
to whatever.
(starts to go)
I'll check on you in the morning.
JULIE
Where are you going?
BURNETT
Uh, back to the P.D. I got
paperwork back on my desk to go
through that's about this high.
(to his armpits)
And now there's you, so that makes
it this high.
To his neck.
JULIE
You mean, you're going to leave me
alone? In your place. With all
your stuff?
BURNETT
Why shouldn't I? Are you a thief
or a vandal?
JULIE
Of course not. And I'm not a call
girl, either.
BURNETT
I didn't ask.
JULIE
I know you didn't. I just thought
you should know.
(CONTINUED)

45.
102 CONTINUED: (2) 102
BURNETT
Okay. Important lesson. Julie's
not a call girl. Can I go now?
JULIE
Just one more thing.
Julie steps forward and wraps her arms around Burnett.
It's a one-way hug. Uncomfortable, Burnett doesn't
reciprocate other than a palsy pat on the back.
JULIE
Thank you. For everything.
BURNETT
Don't mention it.
Burnett tries to break toward the door when the PHONE
RINGS. Burnett stares at the phone, not knowing what
to do.
JULIE
Aren't you going to --
LOWREY'S MACHINE (V.O.)
Hi. You're live with Lowrey.
Leave it at the beep.
The PHONE BEEPS.
YVETTE (V.O.)
Miiike... it's Yvette... I know I
told you I don't date cops. And I
know I told you I wouldn't sleep
with a man I wasn't going to marry.
But I've been thinking -- and I
remember when you said thinking was
a dangerous thing -- so I started
feeling... well, lonely. Remember
when you gave me that key --
Burnett charges over and shuts OFF the MACHINE.
BURNETT
It's uh... It's uh...
JULIE
You don't have to explain.
Finally, they've reached consensus. Burnett grins and
is out the door.
BURNETT
Lock the door. Don't open it for
anybody.

BAD BOYS - Rev. 6/24/94 PM 46.
103 INT. LOBBY - NIGHT 103
As Burnett is racing back through to the car, he sees
Chet behind the desk and stops.
BURNETT
Listen, Chet. The girl? She's a
witness. I'm gonna be gone for
about an hour. Do me a favor.
Keep your eye out, okay?
CHET
You know, Mr. Burnett. I'm getting
off in just a few minutes, so... I
could watch the door if you like.
You know. In a chair. I could
just sit in it. Outside the door
like cops do when they're guarding
shit.
BURNETT
Just keep an eye out.
Heads for the door.
CHET
Yeah, I was gonna be a cop, you
know? Just didn't work out. You
know? Politics.

104 INT. BURNETT HALLWAY 104
As Doris storms toward her bedroom, Burnett trails her,
apologetically --
DORIS
Don't you 'Honey Baby' me --

BURNETT
-- I swear, baby, it's nothing.
I was on the job --
As she gets to the bedroom, Doris wheels around --
DORIS
And you just happened to lose
your wedding ring -- 'on the
job?!'
He looks down at his ringless finger --
BURNETT
No! No! I got it right here...
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 46A.
104 CONTINUED: 104
He hastily fishes into his jacket pocket, but too late --
Doris slams the door in his face, LOCKS it.
OFF Burnett's pained expression --

105 INT. MIAMI PD - HALLWAY - DAY 105
Burnett and Lowrey on the move.
(CONTINUED)

47.
105 CONTINUED: 105
BURNETT
If you were a real partner, instead
of some no-backup, hot doggin',
car chasin', skirt sniffin'
motherfucker, I would be gettin'
down to business with my wife
instead of stuck in this situation.
LOWREY
Yeah. Thanks for the get-well card.

106 INT. POLICE BASKETBALL GYM 106
Howard is in sweats, awkwardly shooting free throws as
his morning workout. Parked on either side of the hoop,
Lowrey and Burnett patiently retrieve each missed ball
and send it back to him.
BURNETT
Chief. I tried to set the girl
up with a sketch artist but she
won't. I tried to get her to come
in and look at the mug books and
she won't come in.
HOWARD
She'll only deal with Mike Lowrey.
He tosses a brick.
BURNETT
That's right. So let her deal
with the real Mike Lowrey! Who,
I might add, shoulda been there to
take the call instead of runnin'
off like a hot dog without any
backup.
Howard fires another missed shot. He's so bad, it's all
Burnett and Lowrey can do to keep from spiking the ball.
LOWREY
Hey. I'm not the one who left a
strange hooker alone in my
apartment. You know, she's
probably on the street sellin'
all my shit as we speak.
BURNETT
I had to stash her somewhere!
She's scared shitless... just
like her dogs.
(CONTINUED)

48.
106 CONTINUED: 106
LOWREY
Dogs, too? I got Persian rugs,
man. I'm going home... explain
the whole thing, take her to the
Motel Six, she'll understand...
HOWARD
Not a good idea.
(brick)
Until she I.D.s the shotters, he's
Mike Lowrey. Could take a coupla
hours. Could take all day. You
got a computer with a modem?
BURNETT
Big computer. Expensive --
LOWREY
Yeah, I got a computer and you
shouldn't touch it. It took me
weeks to get it set up the way I
want it and I don't want amateurs
messing with it.
HOWARD
(brick number four)
Burnett. I'll have Francine give
you the user code for the computer
files and you can run pictures for
the girl on Lowrey's super duper
computer.
BURNETT
So what about me? I can't tell my
wife I'm shacked up with a female
witness! Besides, I think they
made my car last night... I gotta
stay close to home, just in case.
HOWARD
Easy. Lowrey moves into your
house. And you're on special
assignment.
Another brick.
LOWREY
No way! I'm not living in that
zoo.
BURNETT
My house ain't no zoo!
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 49.
106 CONTINUED: (2) 106
HOWARD
Enough! You're him, he's you!
Until she makes the shooters and
we get the dope back, I don't
care what you have to do, just
make it work!
Lowrey and Burnett feel hammered by Howard. Upon
retrieving his final brick, Lowrey passes to Burnett,
who feeds back Lowrey with a heel kick to the rim.
And Lowrey slams the ball home. They exit with Howard
simply staring.

107 INT. BURNETT BEDROOM - DAY 107

Burnett's tossing some things into an overnight bag.
Theresa watches him, concerned.
THERESA
You never had to go to Cleveland
on police business before.
BURNETT
Cleveland's where they collared the
dealer. And that's where I gotta
go to testify.
THERESA
But what about us? The
neighborhood's had all break-ins.
I won't feel safe if you're --
BURNETT
Honey. I wouldn't go if I didn't
have the most trustworthy man I
know to look after my family...
THERESA
Oh, no, Not Lowrey. Not in my
house.
BURNETT
Yes, Lowrey. I trust him with my
life and, I most certainly trust
him with yours.
THERESA
Why don't they send him to Cleveland?
BURNETT
Baby. It's a Federal subpoena.
I'm the witness. I'm the one who
has to testify. Case closed. I'm
the one going to Cleveland.
Lowrey's staying here.

BAD BOYS - Rev. 6/22/94 50.
108 EXT. BURNETT HOUSE 108
Theresa stands at the door with arms crossed. Meanwhile,
Burnett throws his bag in the trunk of the Porsche. He
and Lowrey trade car keys, the Porsche for the Volvo.
BURNETT
Don't forget to put Snail Guard on
my lawn.
LOWREY
Just leave Cleveland the way you
found it.
Burnett climbs in, waves out the window.
BURNETT
Bye-bye, Theresa. Be good, kids.
Lowrey joins Theresa on the porch. Mockingly he puts his
arm around her and waves.
THERESA
Why's he taking your car?
LOWREY
(seething)
He's dropping it off at the
mechanic on the way to the
airport. The engine needs an
overhaul... or will by the time
he gets there.
The Porsche heads down the block with a GRINDING of
GEARS. Lowrey winces and heads for the Volvo when
Theresa gets in his way.
THERESA
Where you think you're going? I
got a list here of things that
Marcus was supposed --
LOWREY
-- that Marcus was supposed to do.
That's right. Marcus. Not Mike.
'Cuz Mike's a cop on a case with
no time to waste.
Lowrey's in the Volvo and pulling away as fast as he can.

109 OMITTED 109
& &
110 110

BAD BOYS - Rev. 6/20/94 51.
111 EXT. BOATYARD - ESTABLISHING - DAY 111
One of Miami's famous canals, derelict ships are docked
and rusting. One such ship, an old freighter called the
Mariana.

112 INT. FREIGHTER - LAB - DAY 112
CAMERA FOLLOWS Noah THROUGH a maze of tight corners
and stairwells INTO a single, massive hold converted
into a drug-processing lab. Huge, bakery-sized mixing
BOWLS CHUG on one side of the room while lab workers form
the doughy, cut heroin into pizza-sized forms, and shovel
them into tractor ovens on the other side of the room.
When the pies come out, more lab assistants re-form the
pies into keys.

ON FOUCHET
He's dealing with his 26-year-old chemist named ELLIOT.
FOUCHET
Okay. Explain it to me, Elliot.
Why are we behind?
ELLIOT
The cutting agent is highly
volatile. You can't cook it like
you would a pizza. I had to gear
the ovens down to half-speed.
FOUCHET
We already accounted for that,
Elliot. It's in our fucking
timetable. So what else?

Elliot is uncomfortable. He looks back at WALLY, his
stoned-looking assistant, before forging ahead.
ELLIOT
There's too much moisture down
here. The pies are taking longer
to cook than we originally
planned.
WALLY
Yeah. It's totally fucked.
FOUCHET
You. Shut up.
(back to Elliot)
Now, listen, you little pussy.
We're not making pizza.
(MORE)
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 52.
112 CONTINUED: 112
FOUCHET (CONT'D)
We're making money. I gave you a
deadline. If you succeed, you're
a millionaire. If you fail,
you're a fuckin' corpse. And so
help me God, Elliot. If you give
me a fuckin' ulcer, I'll dig up
your dead mother and fuck her with
your severed dick, do you
understand? Christ --
(calls out)
Noah?! Bring me something for my
stomach! A fuckin' Snapple or
somethin'.

113 OMITTED 113

114 INT. LOWREY'S CONDO - DAY 114
Burnett enters and instantly those DOGS of hers are
YAPPING.
BURNETT
Shut up before I step on you...
Julie?
He drops his bags and heads into bedroom where...

115 INT. BATHROOM - CONTINUOUS ACTION 115
Julie's fresh from a shower, towel about her and drying
her hair.

BURNETT (O.S.)
Julie!
JULIE
That you, Mike?
BURNETT (O.S.)
Yeah. It's me. Mike.
JULIE
At least your timing's good.
Can you bring me the lotion on
the nightstand?
Burnett enters. Julie has a towel wrapped around her
body.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 52A.
115 CONTINUED: 115
JULIE
Thanks. So I was thinking...
Julie, obviously free with her body, suddenly drops the
towel and starts applying lotion. Burnett averts his
eyes, turning around a full one-eighty, but finds himself
facing a mirror. Oops. Looks left, another shiny
surface. Shit.
BURNETT
(to himself)
Crazy fuckin' woman.
He steps from the bathroom and stands outside the door.

JULIE
The guy who killed Max. Now, he
was looking for the heroin that
Eddie stole from him... Max went
to the party as a favor to you.
You're a dope cop, right?
BURNETT
Special Narcotics Division.
JULIE
So this isn't about Max's death
at all. It's about dope.
BURNETT
We find the dope, we find our
shooter, too.
JULIE
There's some powder in there, too.
Can you hand that to me?
(waits for an
answer)
Mike? Mike?
Burnett has disappeared into...
TIME CUT TO:

116 INT. BEDROOM CLOSET 116
Burnett is going through Lowrey's extensive and meticu-
lously coordinated wardrobe, shaking his way all the way
through.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 53.
116 CONTINUED: 116
BURNETT
Man, when this is over, I'm gonna
get me somethin' better than
quality time. It's gonna be me'n
Theresa on a boat --
JULIE (O.S.)
Mike? I borrowed a T-shirt and
some boxer shorts until we can
somehow get back over to my
place to pick up some clothes.

117 INT. BEDROOM - CONTINUOUS ACTION 117

Burnett exits the closet to find Julie brushing out her
wet hair, wearing nothing but what she described, a T-
shirt and pair of Lowrey's boxers tied up with a shoe
string. This ensemble never looked so good.
BURNETT
Mug shots. We got mug shots to
look at. 'Scuse me, I gotta hook
into the P.D. computer.
He heads out of the bedroom.
JULIE
Hey, Mike. Who's the guy in all
the pictures?
Burnett turns. And there behind Julie is a wall full of
photos that he's never, ever noticed. Nearly all of
Lowrey. All ego.
BURNETT
That guy? Well, that's Marcus
Burnett, my partner.
Burnett gets closer and must look around until he finds
the singular photo of the two of them. It's in a shitty
frame, too.
BURNETT
There's the two of us, see? Me'n'...
(gestures to photos)
... My partner.
JULIE
Listen, Mike. I've known a lotta
guys. And I've seen a good number
of their bedrooms, okay? But I've
never seen... I mean, look at it.
It's like a shrine to him.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 PM 54.
117 CONTINUED: 117
BURNETT
Yeah. Okay. Sure, I can see how
it looks that way... But you see...
you see... It's uh... a cop thing.
(then it comes)
That's because I've put a picture
up there for every time Marcus has
saved my life.
JULIE
Saved your life?
BURNETT
I save his life. He saves mine. He's
got the same thing in his house.
Pictures of me. More, even. Good
family man, that Marcus.
JULIE
Okay, but Mike. This is like a
lot of pictures. I mean, this
isn't something by the bedstand.
This is a whole wall... And I know
Max said you were just friends.
That's why I was thinking,
maybe... you could be... gay.
Burnett reacts, then recovers with...
BURNETT
Me? Gay? Are you outta your
mind?
JULIE
I didn't mean to offend you.

BURNETT
It's a good thing that I'm secure
in my manhood to see that you don't
mean that. You know how many women
I've had in that waterbed? Check the
waves as they go by. Count 'em.
(turns back to
living room)
Now, mug shots?

118 INT. LOWREY'S CONDO - NIGHT 118
Burnett and Julie are sitting at the computer looking at
mug shots dialed in from the police database. She
fiddles with, but does not eat her salad, while stealing
sideways glances from the computer screen to the nasty,
bologna sandwich Burnett is eating.
(CONTINUED)

55.
118 CONTINUED: 118
BURNETT
The shooter said four days until
he makes the deal. What else
did he say?
JULIE
Somethin' weird. Sounded like
three angels... He wasn't worried
because he had three little angels
on his shoulders tellin' him
something. I didn't get the rest.
(back to the mug
shots)
I'm getting tired of looking at
ugly people.

BURNETT
Just a few more and we can take
another break.
JULIE
I don't wanna take a break. Then
we'd have to talk and I got
nothing to say to a cannibal.
BURNETT
A what?
JULIE
That was a living, breathing
consciousness. It felt joy.
Sadness. Maybe it even had a
name.
BURNETT
What had a name.

JULIE
That flesh you're shoveling
into your mouth.
BURNETT
(stops chewing)
It's just bologna.
JULIE
It was alive. Some farmer fed it.
Got it to trust him. Then blew
its brains out, dumped it in a
cement mixer with a ton of
carcinogens and now you're eating
it.
(CONTINUED)

56.
118 CONTINUED: (2) 118
Burnett never looked at it that way. He starts to put it
down.
JULIE
No. At least finish it so I
won't have to look at it.
(back to the
screen)
Let's look at some more ugly
people.

ANGLE - COMPUTER SCREEN
It's a photo of Noah along with his extensive rap sheet.

JULIE
Wait. Hold it. Go back...
That's him! That's one of 'em.
BURNETT
You sure?
Julie nods. She's certain.

119 OMITTED 119

120 INT. BURNETT HOUSE - DEN - NIGHT 120
Lowrey is on the phone.
LOWREY
Captain Howard, please. It's
Lowrey.

MEGAN (O.S.)
Uncle Mike --
Lowrey looks down to find little Megan pulling at his leg.
She shows a picture book.
MEGAN
But I have to go now!

121 INT. BATHROOM - LOWREY AND MEGAN 121
Lowrey is standing just outside, portable phone in hand.
He's trying to keep his voice low.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 57.
121 CONTINUED: 121
LOWREY
I just talked to Marcus. The
girl just I.D.'d one of the
shooters --
MEGAN
Uncle Mike!
LOWREY
Okay... Hang on, Cappy.
(starts reading
from the book)
This is Prudence and she has to
go potty. This is a potty.
Everyone has to poop and when they
do they use the potty.
(turns page)
Mommies poop.
(turns page)
Daddies poop.
(turns page)
Captain Howard poops. Even
doggies poop.

122 INT. LOWREY'S CONDO - NIGHT 122
Burnett is cleaning up dog shit from one of Lowrey's
Persian rugs. The stain won't come out. So Burnett
tries a can that he's grabbed. It foams. Julie appears
with a pile of clean laundry in hand.
BURNETT
Your dog took a shit.
JULIE
And you used Pledge to clean it
up?
BURNETT
(looks at can)
Lemon Pledge.
JULIE
Well, that makes a big difference.
You just varnished that into the
fabric. I'm sure it works great.
Burnett doesn't quite know what to do with the wad of
dog poop in paper towels still in his hand. Julie
snatches it from him and heads for the bathroom. Burnett
follows. He suddenly realizes that the clean clothes are
his.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 58.
122 CONTINUED: 122
BURNETT
You cleaned my clothes?
JULIE
I just threw them in with mine.
BURNETT
You cleaned my clothes?
He's all appreciative until he notices something dis-
turbing. A shirt of his has a large bleached area on it.
BURNETT
What's this??

JULIE
(shyly)
I had a little accident.
BURNETT
This is my favorite shirt. My
lucky shirt.
JULIE
Sorry.
As Burnett starts to walk away...
JULIE
Listen, Mike. I don't have any of
my clothes. I wanna go back to my
place to get some.
BURNETT
Not going to happen.

JULIE
I need apparel. That and I need
some food that's something more
than a cold, slab of fear.
BURNETT
Slab of fear?
JULIE
All you got in the place are
frozen steaks.
BURNETT
Alright. I left my wallet at the
office so I'll give you some cash
tomorrow.

BAD BOYS - Rev. 6/24/94 59.
123 OMITTED 123

124 INT. KIDS' BEDROOM - NIGHT 124
Quincy and Jill are rapt as Lowrey does a quick security
sweep, checking closets and window locks as he tells a
bedtime story.
LOWREY (O.S.)
... so your daddy and I are
trapped in this crack house in
Little Havana. These dudes were
real mean mothers... and they
start coming at us with knives...
Now I'm scared, thinkin' I'm out
for the count when in comes your
daddy like a Miami hurricane --

THERESA
Standing in the doorway. Hands on her hips.
LOWREY
Oh, hi, Theresa. Just tellin' the
kids about --
THERESA
Thank you, but I'll tuck the kids
in. Say good night to Uncle Mike.
QUINCY
But we want to hear the rest of
the story...
Theresa silences Quincy with a look. Sensing his cue,
Lowrey kisses the kids.

LOWREY
G'night, gang.
QUINCY AND JILL
G'night, Uncle Mike.

BAD BOYS - Rev. 6/22/94 60.
125 INT. LIVING ROOM - NIGHT 125
Lowrey is seated on the couch, loading clips and dressing
his weapon on the coffee table. As he pours a Coke,
Theresa appears at the bottom of the stairwell.
THERESA
If you were my husband, I'd
poison that.
LOWREY
If you were my wife I'd drink it.
THERESA
Twelve years I'm married, Michael.
And I never let Marcus bring his
work home.

LOWREY
Just a harmless bedtime story.
Thought the kids deserved to
know about the hero they have
for a dad.
THERESA
We don't need any violence in
this household and we certainly
don't need any more heroes.
What we need is a father and
a husband.
LOWREY
Husband? Theresa. He's your
personal errand boy. You beep
the poor S.O.B. every hour on
the Goddamn hour? And why is
it always about some useless
bullshit that can wait until
later. I mean, the guy's gotta
job to do.
THERESA
You wanna know why I page him?
Because until that phone rings,
I don't know whether he's dead
or alive. And lemme tell you.
Those three minutes I'm waiting
for him to call back? Those are
the hardest three minutes for a
cop's wife.
LOWREY
(toasts with the Coke)
Touche, Theresa.
(CONTINUED)

BAD BOYS - Rev. 6/22/94 61.
125 CONTINUED: 125
THERESA
Sheets and pillows are in the
hope chest. I'll see you in
the morning.

126 OMITTED 126

A127 EXT. BURNETT HOUSE - NIGHT A127
Noah's car is parked down the block.

127 INT. NOAH'S CAR - CASPER AND NOAH - NIGHT 127

With night vision goggles they glass the house.

128 INT. LOWREY'S CONDO - NIGHT 128
The CAMERA STARTS ON a beautiful SHOT of Julie sleeping
in the bedroom, then PULLS BACK AND SWIVELS to reveal
Burnett on the couch. Gun laid across his chest. He
lays awake while Luke and Duke sniff at his feet.

129 EXT. POLICE HEADQUARTERS - DAY 129
Lowrey unhappily pulls into the parking lot driving
Burnett's dilapidated Volvo. Ruiz and Sanchez, walking
from the cars, spot him and laugh as he climbs out of
the wreck.
SANCHEZ
Ooh, mean machine, Lowrey...

LOWREY
You should recognize trunk. It's
the one you came to America in.
RUIZ
You don't come from Cuba by car,
asshole.
Lowrey walks by his own cherished Porsche on the way in.

130 OMITTED 130

131 INT. POLICE STATION - HALLWAY - DAY 131
Lowrey and Burnett on a roll.
(CONTINUED)

BAD BOYS - Rev. 6/22/94 62.
131 CONTINUED: 131
BURNETT
I'm tellin' you, I've had it with
this witness. I wanna go home and
get back to my life as it was. I
got married so I could stop lyin'.
LOWREY
Oh, please. Big fucking deal.
You know what I had to do? I
drove your kids to school this
morning. Your son forgot his
homework. So I had to drive him
all the way back in that junker of
yours --
(as if looking at
Burnett for the
first time)
What's that you're wearin'? Is
that my new silk shirt? Is that
my shirt?
BURNETT
Yeah. I know, it's a little big
on me. But cool. I figure, what
about it? If I'm gonna be Mike,
might as well dress like Mike!
(singing)
I wanna be, I wanna be like Mike.
Swish.
Lowrey's BEEPER SOUNDS. He checks out the number.
LOWREY
Ugh. I gotta call the wife.
BURNETT
The wife?
Lowrey finds the nearest phone and dials. Burnett is
thinking Theresa?
LOWREY
Yeah, what's up, baby. Uh-huh.
(pulls out notepad)
Yeah. Okay. What else? You want
me do what?
Lowrey glances over at Burnett who's clearly loving the
fact that it's Lowrey's turn at errand boy. So Lowrey...
(CONTINUED)

BAD BOYS - Rev. 6/23/94 (PM) 62A.
131 CONTINUED: (2) 131
LOWREY
Mmm. Uh-huh. Hectic down here.
I'll be in, nine. Nine-thirty.
The kids alright? How's that
potty thing? Yeah? Okay.
Alright.
Lowrey turns to block the phone, depressing the switch,
but acting as if he's still on with Theresa.
LOWREY
Say, why don't you rent a movie or
somethin'? Uh-huh.
(teasing laugh)
You're so silly.

Burnett's burning now.
LOWREY
So, baby. What you wearin'?
BURNETT
Gimme that phone.
(grabs it)
Hello, Theresa? Theresa!
LOWREY
Man, it's off. It was a joke.
BURNETT
Hey, man. Don't mess with me!
That's the mother of my children.
Don't break up a happy home.

A132 INT. SAVE-MORE DRUGS - MORNING (Formerly Sc. 207) A132

Lowrey is annoyed. He holds the list Theresa just gave
him as they walk down the aisle.
LOWREY
Marcus, this is crazy. We are
five minutes away from picking
up this asshole and returning
to our lives. And we're here
doin' this shit. Where the fuck
is it?
BURNETT
Hey. Don't ask me to find it for
you. You're the expert on my
wife.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 (PM) 62B.
A132 CONTINUED: A132
LOWREY
You know, this is like some really
bizarre shit that you're on right
now. Your wife asked me to do
this, and I'm doin' it. Besides,
I'm you, remember?
BURNETT
You don't even know where you're
going. You're in the wrong aisle.
Lowrey follows Burnett to the next aisle, where Burnett
gestures to the wall of feminine hygiene products.
BURNETT
You think you know what Theresa
needs, man, but I do this every
month.
(challenges)
Just look for 'Fresh Days.'
Lowrey moves ahead. There's too much to look at.
LOWREY
You're unbalanced. Listen, I
read the parole jacket on this
guy Noah. Armed robbery.
Attempted murder. He's a violent
offender somethin' like nine
times. Sweet guy. Not a single
drug bust on his sheet.
BURNETT
So? He's a new recruit. Keep
looking, will ya? 'Fresh Days.'

LOWREY
You know, it is a damn shame she
makes you buy this stuff.
BURNETT
Hey, this what husband's do.
LOWREY
Terrible fuckin' job.
(examining shelves)
It's like shaving cream.
They're all the same. Fresh.
Free. Confident. Secure.
(grabs a box)
Super wide? What the fuck? We're
takin' this one.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 (PM) 62C.
A132 CONTINUED: (2) A132
Burnett snatches Lowrey's box and puts it back on the
shelf.
BURNETT
Hey, man, look! You're not even
reading. These are panty liners,
okay?
A woman chooses this moment to walk by.
BURNETT
That's a whole 'nother category
of thing! Man, for a guy that
spends all his time chasing
pussy, you sure don't know much
about the woo woo.
(beat)
Here it is. Fresh Days. You
pay for it.

63.
132 EXT. GRUNGY TRAILER PARK - DAY 132
Burnett and Lowrey park and pop the trunk. Inside are
guns and uniforms.
BURNETT
What are we gonna be today? Postal
Inspectors or Water and Power?
LOWREY
Water and Power.

133 EXT. TRAILER - DAY 133
Approaching are Burnett and Lowrey, but now they're
dressed in shorts and T-shirts with bright orange vests
and caps reading "Water and Power." And as Lowrey knocks
on the door.

CLOSE ON HEAVY LINK CHAIN
Wrapped around a pink refrigerator. It moves.
BURNETT
What do you think the chain's for?
LOWREY
I dunno. Maybe some kind of
hurricane anchor.
They knock again. The chain jerks slightly.
BURNETT
Well, the anchor just moved.
Both turn and look. And the chain is moving. At first,
it simply sways back and forth, then it pulls taut and
the FRIDGE JOLTS! A deep, GUTTURAL NOISE sounds. From
around the corner, a shadow grows large. Lowrey and
Burnett instinctively withdraw their guns and aim just as
a LION rounds the corner, teeth bared, claws tearing at
the deck.
The door swings open.
Burnett pushes Lowrey inside just as the big cat lunges.

134 INT. TRAILER - DAY 134
Lowrey and Burnett are holding the door against the
GROWLING LION.
(CONTINUED)

BAD BOYS - Rev. 6/21/94 64.
134 CONTINUED: 134
WOMAN (O.S.)
Who are you?!
Lowrey and Burnett heave, then turn. They're equally
shocked to find a huge, three-hundred-pound WOMAN in
nothing but her underwear.
BURNETT
AAAAAAAAAAA-Animal Control!
WOMAN
But your uniforms say Water and
Power!
LOWREY
We're undercover! Now, we're
lookin' for the owner of that
animal.
WOMAN
Listen. The cat don't belong to
me. It belong to my brother. And
I don't know where he is.
BURNETT
That's too bad. Because his
lion's tied to your trailer. So
you gotta move the beast. Or move
the trailer.
WOMAN
Move the trailer? Move it to
where?
LOWREY
Everglades. Only part of South
Florida that's zoned for Wild
Kingdom shit. 'Course, the crocks
down there'll probably eat your
brother's cat.
WOMAN
But he loves that lion! Raised
him from a little kitty!
BURNETT
Well, little kitty's gonna be
gator bait 'less you suddenly
remember where your brother is.
By the look on her face, her memory is coming back.

BAD BOYS - Rev. 6/24/94 64A.
135 EXT. LOWREY'S BUILDING - AFTERNOON 135
Lowrey and Burnett pull up in the unmarked police car.
Chet is there to help with the door.
CHET
(to each of them)
'Morning, Mr. Lowrey. 'Morning,
Mr. Lowrey.
Burnett grabs Lowrey and yanks him toward the elevators.

136 INT. LOWREY'S CONDO - CONTINUOUS ACTION 136
Keys in the door and Burnett and Lowrey enter the
apartment. Julie's DOGS run up to them, YAPPING.

BURNETT
It's me, Julie...
Julie enters from the bedroom, dressed in something hot
with the tag still hanging from a sleeve.
JULIE
I'll be ready in just a minute.
I thought I'd have you tell --
She stalls at the sight of Lowrey, a little spark of
interest passes between them.
JULIE
Hi. I'm Julie. You must be
Marcus.
(hand outstretched)
I recognize you from all the
photographs. Nice to meet you.
(turns around for
Burnett)
What do you think?
LOWREY
Very nice. The occasion?
JULIE
He said we were going to a club
tonight.
BURNETT
Yes. We were going to a club. As
in me and my partner.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 65.
136 CONTINUED: 136
JULIE
Oh, that's fuckin' swell! And you
call this protective custody? I'm
here all day. I'm alone and scared.
And all I got to protect me is Chet
the doorman --
LOWREY
What's that on the rug? Looks
like... a stain?
Teeth grit.
JULIE
It was my babies, Luke and Duke.
They get nervous in new
surroundings. I offered to pay
for the cleaning, but Mike
wouldn't hear of it --
Lowrey spots rings from glasses on the table.
LOWREY
And have you ever heard of a new
invention called the 'coaster'?
As he tries buffing the table with his sleeve.

CLOSE ON JULIE
She might be catching on here.
JULIE
Marcus, you act like it's your
place.

BURNETT
What?
LOWREY
No. It's not my place. My wife.
She's a designer. She decorated
the whole place at a discount just
for Mike. And when she hears about
how he's been taking care of --
(glares witheringly
at dogs)
Off the couch!
Lowrey chases the dogs into the bedroom. One of the dogs
runs out with a Cole Hahn loafer in his mouth. They both
follow him into the bedroom.

BAD BOYS - Rev. 6/24/94 66.
137 INT. LOWREY'S CONDO - LIVING ROOM 137
Where the lock on the front door turns. The door opens.
A mysterious WOMAN in an overcoat, sunglasses and spiked
heels enters.
WOMAN
Mike?
The Woman strips off the overcoat -- under which she's
breathtakingly naked, save for a garter belt and
stockings. She drapes the coat over the nearest chair.
WOMAN
I'm feeling really nasty right
now.

Burnett is first to appear from the bedroom -- and his
expression goes off the charts. Startled, the woman
shrugs back into her coat.
WOMAN
Who the hell are you?
Burnett charges her, instantly ushering her to the door.
BURNETT
How did you get in here?
Julie and Lowrey return from the bedroom.
WOMAN
I have a key. But, Mike...
BURNETT
(whispers)
Maybe you should call first next
time. What's your name?

WOMAN
Yvette!
BURNETT
You don't quit stalking me,
Yvette, I'm gonna place your ass
under arrest! -- 'Bye!
Burnett slams the door. She's SCREAMING on the other
side, POUNDING the door with her fists, and cursing in
mad Spanish. Finally she stomps off down the hall.
LOWREY
'The hell's going on out here??
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 67.
137 CONTINUED: 137
BURNETT
Just that crazy Yvette, stalking
me again.
Lowrey could kill.
LOWREY
Yvette!? You didn't just send
away Yvette?
BURNETT
That woman's into some weird shit.
Julie's confused, to say the least.

JULIE
(to Burnett)
So, Mike. Any other spontaneous
naked women with keys, that we
should know about?
BURNETT
We, as in Marcus and I, are going
to Club Hell. We're gonna nail
this Noah guy and get him to give
up Max's shooter. Anyone got a
problem with that?
JULIE
I feel safer now.
She turns and exits back into the bedroom. Burnett's
about to follow when Lowrey swings him outside the door-
way and gets into his face.
LOWREY
You are ruining my life!
BURNETT
Yeah, well this case is messin'
with mine, too.

138 OMITTED 138

A139 EXT. CLUB HELL - NIGHT A139
The ultimate Miami night scene. A long line of local and
Hip and cool couples are waiting. Lowrey and Burnett
appear at the front of the line, coolly flashing their
badges to a hipster couple.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 68.
A139 CONTINUED: A139
BURNETT
Hey, man. Got some bad news.
Your car got busted into. There's
some uniformed boys in the parking
lot wanting to ask you some
questions.
Pissed and panicked, the hipster pair head for the
parking lot, while Lowery and Burnett take their place
near the front of the line.

BAD BOYS - Rev. 6/22/94 69.
139 INT. LOWREY'S CONDO - NIGHT 139
Julie, still dressed for the evening, paces back and
forth. Frustrated, she rips the tag from her dress, and
sits back down at the computer. She plays with the
keyboard and Noah's mug shot pops back into view. She
stares at it a little too intently. Images flash in
front of her, the sights and sounds of Max's death
replaying itself in her mind.
Snapping out of it, determined, she gathers her bag and
exits.

140 INT. CLUB HELL - NIGHT 140
Hip. Hard rock. Crowded. Sexy. Burnett and Lowrey
on cruise control, this club massed with people.

141 INT. CLUB HELL - OFFICE - NIGHT 141
High above the room, Fouchet looks out upon the dance
floor with both Noah, Casper, and Ferguson behind him.
FOUCHET
My three little angels told me I'd
get a visit from the cops tonight
and there they are.
(turns and orders)
When they split up, we'll drop
the tall one and get the other
one to lead us to the girl.

142 INT. CLUB HELL - NIGHT 142
Lowrey and Burnett move to the bar. There's a huge
fishtank behind it.
LOWREY
I say we split the room in half.
Make our own moves. Hook back up
at the bar in twenty minutes.
BURNETT
Sounds good to me.
Lowrey moves off and Burnett turns to the female
BARTENDER.
BURNETT
Gin and tonic...
(smiling, with
Lowrey's platinum
card)
... And add twenty for yourself.

BAD BOYS - Rev. 6/24/94 PM 70.
143 EXT. CLUB HELL VALET - LATER 143
Julie pulls up in Lowrey's Porsche. Before the valet
can get to the door, she's opening Lowrey's glove box.
In it there's a pistol. Julie mulls it over before
removing it and stuffing it in her purse.

144 INT. CLUB HELL - NIGHT 144
Lowrey meets Burnett back at the bar.
LOWREY
Anything?
BURNETT
Bartender says he works here. But
she hasn't seen him all night.
(finishing his
drink)
I gotta make a pitstop.

145 INT. CLUB HELL - MEN'S ROOM - NIGHT 145
And, believe it or not, the other side of the fishtank
behind the bar. Burnett's at the urinal, blissfully
relieving himself when Casper appears at his side.
There's that awkward men-don't-talk-at-the-urinal moment
until Burnett leans over...
BURNETT
Oh, man. Budweiser...
CASPER
Excuse me?
BURNETT
Musta drank about a million
Budweisers tonight, waitin' for my
ol' friend Noah to show. Wouldn't
know him, would ya? Guy practically
raised me up from nothin'.
CASPER
Sorry. Never heard of him.
BURNETT
Too bad.
Burnett shrugs, zips and reaches to flush when --
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 71.
145 CONTINUED: 145
CLOSE ON GARBAGE BAG
Which Casper wraps around Burnett's head. Burnett gags.
CASPER
Okay, hardon! Tell me where the
girl is!
Casper slams Burnett into the mirror. Burnett struggles,
reaching for anything, he comes up with the towel dis-
penser, rips it from the wall and starts pounding over
Casper's head.

146 INT. BAR 146

Lowrey sips on a beer, totally unaware of what's
happening on the other side of the fishtank.

147 INT. MEN'S ROOM 147
Burnett rips the bag off his head, reaches for his gun.
But Casper's there, lunging into him and lifting him up
and into the fishtank.

148 INT. BAR - LOWREY 148
He's been watching the fish in the tank, but turns back
toward the bar just at the moment of Burnett's impact.
The tank cracks on the bathroom side and water begins
draining, unbeknownst to Lowrey.

149 OMITTED 149
& &
150 150

151 INT. MEN'S ROOM - BURNETT AND CASPER 151
Burnett's gun lays amongst the flapping carp and sea-
weed on the floor. Both Burnett and Casper go sliding
across the wet floor and into a stall -- both reaching
for the gun. Burnett's there a second too late.
Casper's got the gun. He swings it onto Burnett and
squeezes the trigger. But nothing happens. Burnett
in turn, grabs Casper's ears and hammers the big guy's
head into the toilet until he falls unconscious. Burnett
picks up his gun.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 72.
151 CONTINUED: 151
BURNETT
Next time, learn how to work the
safety with your punk ass.
(as he cuffs Casper
to toilet)
Now where's my no good, no back-up
partner?
Through the busted fishtank, Burnett catches sight of
Lowrey, standing at the bar and making conversation with
one of the club beauties.

A152 INT. CLUB HELL - OPPOSITE BAR A152

Ferguson and Noah split wide and start their move on
Lowrey.

152 LOWREY AT BAR 152
He sees Julie charging across the dance floor. She's
heading right for him.

153 INT. CLUB HELL OFFICE - FOUCHET 153
He's watching Ferguson and Noah moving in for the kill
when Fouchet's POV SHIFTS from the dance floor TO Julie.

CLOSE ON FOUCHET
as he recognizes Julie. There's an instant "oh fuck"
look on his face as he realizes that the rules have
changed.

154 INT. CLUB HELL - DANCE FLOOR 154
Lowrey meets Julie halfway. He's got her by the arm and
is shouting over the loud music.
LOWREY
What the hell are you doing here?
JULIE
The guy who killed Max. I remember
something he said!
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 73.
154 CONTINUED: 154
LOWREY
(starts moving her
toward exit)
Well, whatever he said, you
remember to tell me later.

SPLIT SHOTS - NOAH AND FERGUSON
Each moving through the crowd toward Lowrey and Julie.
Guns with silencers held tight to their sides.

ON JULIE AND LOWREY

JULIE
Three little angels! The guy who
killed Max said 'three little --
Julie sees Noah and freezes.
LOWREY
The music's too loud. What you
say about angels?
Noah closes the gap. Through the crowd he draws down on
Lowrey.

155 INT. CLUB OFFICE - NIGHT 155
He pounds on the window.
FOUCHET
Forget the cop. Kill the girl!

156 INT. CLUB DANCE FLOOR 156
Julie pulls the gun from her purse, shuts her eyes and
starts FIRING wildly.
BAM, BAM, BAM, BAM, BAM!
The gun bucks and each shot goes wildly high. Noah dives
for the floor.

157 INT. CLUB OFFICE - FOUCHET 157
He hits the deck as the WINDOW is SHATTERED by a random
bullet.

BAD BOYS - Rev. 6/24/94 PM 74.
158 INT. CLUB DANCE FLOOR - BACK TO SCENE 158
The room clears around Julie. Noah is back on his feet,
once again with the gun. But...

LOWREY
Launches himself off a nearby table, soars over the
frightened crowd and comes crashing down upon Noah.
Both Lowrey and Noah tumble to the floor. Noah's gun
skitters into the crowd. Noah chases for it, but can't
find it. But --

FERGUSON'S

got a clear shot at Julie. He raises his gun, only to
find Burnett's pistol at his ear.
BURNETT
Don't even think about it.
(realizes)
Julie?
CUT TO:

JULIE
as she grabs Lowrey.
JULIE
That's him!
LOWREY
No shit!

Meanwhile, Noah's on his feet and hauling ass out of the
club.

159 BURNETT AND FERGUSON 159
Burnett sees that Noah's on the run. So he cold-cocks
Ferguson with the butt of his pistol and joins the chase.

160 OMITTED 160
& &
161 161

BAD BOYS - Rev. 6/24/94 PM 75.
162 EXT. CLUB HELL - LOWREY, BURNETT, AND JULIE - NIGHT 162
Appear at the door, charging down the steps toward the
valet and commandering a Taurus that just pulled up.
All three dive in. Burnett behind the wheel.
LOWREY
Lemme drive!
BURNETT
I'm driving. Buckle up.
Burnett hits the gas, the CAR SCREAMS around in a tight
circle just as -- SLAM! -- Noah's sedan backs wildly
across the road and crunches them. Noah throws a SHOTGUN
over the back seat of his car and FIRES through the rear
window. BLAM! Everybody ducks. Safety glass flies
before Noah shifts gears and drives on.

163 EXT. MIAMI STREET - NOAH'S CAR - NIGHT 163
Noah's already up to 70 MPH, races through a yellow
light, hangs a left. As the light turns red --

164 INT. UNMARKED CAR - NIGHT 164
LOWREY
You're gonna drive through that,
aren't you?
Burnett does, hauling through the light. Meanwhile,
Lowrey has the bubble light in hand, reaches out the
window to stick it on the roof, but it simply slides off.
He reels it back in the car and hands it off to Julie.
LOWREY
Hold that.

165 INT. NOAH'S CAR - NIGHT 165
Noah is waving a SHOTGUN out the back -- FIRES --

166 INT. UNMARKED CAR - NIGHT 166
rocks as one HEADLIGHT EXPLODES --
LOWREY
C'mon, lemme drive --
BURNETT
Do I backseat drive when you're
tailing a hitman?

BAD BOYS - Rev. 6/24/94 PM 76.
A167 EXT. GAS STATION AT ROAD DIVIDE - NIGHT A167
Both speeding cars, side by side. Then Noah cranks the
wheel and slams the Taurus, sending it to the left of
the divider. But --

NOAH
His wheels catch the island and the snaps, and rolls
right into --

CLOSED GAS STATION
Noah's car clips the pumps. A geyser of gasoline sprays
into the sky. Noah recovers from the roll. Throws his
weight into the jammed door. It opens on the second
shove.

CLOSE ON OVERHEAD CAR LIGHT
which ignites automatically.

WIDE SHOT - GAS STATION
It erupts in flames.
CUT TO:

B167 EXT. MIAMI STREET - GAS STATION - BURNETT, LOWREY AND B167
JULIE
Just getting out of the car as the station blows. They
shield themselves against the explosion.

BURNETT
There goes our only lead to the
dope. We better call Howard.
JULIE
That's it. That's it. You're
both crazy.
Julie takes a few steps away before she decides to give
them the other barrel.
JULIE
Protect and serve. Sound familiar?
Isn't that what you're supposed to
do? 'Cuz I'd like to know whose
butt you're protecting.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 77.
B167 CONTINUED: B167
LOWREY
I think we protected your
uninvited butt pretty good back
there.
JULIE
All you care about is getting your
dope back. No, that's not all,
you care about getting it back in
a way that shows how fucking macho
and tough you are. It's all some
big testosterone contest. Well,
fuck that.
As Julie walks in one direction, Burnett blows off in the
other.
BURNETT LOWREY
No more. Fuck this. I'm Chill, I'll handle it.
not goin' with it... No, I'm (starts after
out. I'm out. Somethin's Julie)
wrong with her. Crazy woman! Julie! Just wait a
minute!
Burnett keeps moving and grousing while Lowrey chases
Julie down and snags her by the arm.
LOWREY
Hey, hey. Just relax!
(looks for words)
Okay. It's true this whole thing
started with missing drugs. But
somebody I cared about. A lot.
She got killed. And I'm not gonna
lay down until this guy is dead
or put away... And I promise you,
we'll take care of you.
JULIE
That's what I'm afraid of.
Once again, Julie pulls away. But Lowrey's got her
tight... and close. He digs deep.
LOWREY
Hey. What do I gotta say? I
need you, okay?
(then for real)
I need you.
Magic words. Julie's swayed, despite herself.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 78.
B167 CONTINUED: (2) B167
JULIE
Do they teach charm at the
academy?
LOWREY
Nah. Some smooth shit I got on
my own.
He puts his arm around her and they walk back.

C167 EXT. GAS STATION - AFTERMATH - NIGHT C167
Police units surround -- flashing lights. Julie is
shaken, waiting in the back of a police unit. Meanwhile,
Ruiz and Sanchez join Burnett and Lowrey at the trunk of
the toasted car. The fire crew crowbars open the lid.
The trunk gives way to a ghastly, toxic smell. Everyone
gags.
BURNETT
Jesus. What kinda shit was in
there?
LOWREY
Smells like some kinda chemical.
BURNETT
We'll get a sample and drop it
back at the lab. Meanwhile, why
don't you two go on back to Club
Hell and see what you can dig up
on these bad guys.

167 OMITTED 167
thru thru
180 180

A181 INT. BURNETT HOUSE - UPSTAIRS - NIGHT A181
As Lowrey is checking the upstairs, he finds himself
staring in on the sleeping kids.
LOWREY
One day, bro. Gotta get yourself
some of them.
Lowrey hears SOBBING. He gently shuts the kids' door
and heads down the hall to the:

BAD BOYS - Rev. 6/24/94 PM 79.
B181 MASTER BEDROOM B181
Where Theresa sits amongst boxes of new clothes. Lowrey
gives a polite rap on the door.
LOWREY
Hey, hey. That's not cryin' I
hear.
THERESA
(wipes tears)
Oh, it's nothing... I just bought
some clothes. It's been so long
since I bought anything nice...
I just wanted something to wear
for Marcus when he got home. But
nothing looks right...
(starts crying
again)
He's slipping away from me, Mike.
I can feel it.
LOWREY
(sits next to her)
Theresa. Listen to me. Nobody's
slipping away from you. Especially
not Marcus. You can take my word
on that... As for the clothes...
Lowrey pulls a random item out of a box. It's hideous.
LOWREY
Okay. Just a minor fashion
faux paux. Those cappuccinos
at lunch can do that to you...
See what else we got here.

181 INT. LOWREY'S CONDO - NIGHT 181
Burnett is preparing the couch with a pillow and blanket
when he sniffs at the air. Something foul. Burnett
lowers his nose to the cushions. The smell gets worse.

182 INT. LOWREY'S CONDO - BEDROOM - NIGHT 182
Burnett crawls into the bed, fully clothed. This is
awkward. Julie calls out from the bathroom.
JULIE (O.S.)
I'm really sorry about the dog
pee. They must be traumatized by
the new surroundings. I'll pay
for new cushions.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 80.
182 CONTINUED: 182
BURNETT
That's perfectly alright --
Julie suddenly flops on the bed, wearing a gorgeous
nightgown.
JULIE
So, Mike. Can I ask you something?
BURNETT
Sure.
JULIE
Do you always come to bed with your
clothes on? Or just when there's
a woman in it?
BURNETT
I'm on protective duty. And I
want you to feel... protected.
So I'm dressed and ready. It's
okay. I've done it before.
JULIE
Really. You think Marcus would
wear clothes to bed while on
protective duty?
BURNETT
Sure he would. It's a cop thing.
JULIE
Oh, I definitely have a cop thing,
too.
BURNETT
You do?
JULIE
Well Marcus. He's very something
... sexy. And the way I came in
tonight, he was throwing everybody
this way and that and he took
control.
BURNETT
Well, I drove.
JULIE
I know. You drove well.
BURNETT
I shot the gas tank on the car.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 80A.
182 CONTINUED: (2) 182
JULIE
That's right, you did. And it was
exciting... But Marcus...
(bites her lip)
Something about him... His wife.
What's her name?
BURNETT
Theresa. Why?
JULIE
I'll bet Theresa is takin' care of
business right now.
BURNETT
What's that supposed to mean?
JULIE
You know, relieve his tension. A
woman'll do anything to keep a man
like that. You know what I mean?
Tonight... made me a little bit
horny, I guess. I think, maybe.
It was the car chase. Or the guns
and everything. I've never shot a
gun before. Maybe it's the steel
or something. I'm feeling a
little... funny.
BURNETT
Funny?
JULIE
I don't know. Do you feel a
little funny?

BURNETT
Yeah... I feel a little funny.
JULIE
Not that kind of funny.
BURNETT
What kind of funny?
JULIE
You know...
(rubs him)
Funny.
BURNETT
I gotta call Marcus.
Burnett's out of bed like a shot and headed for the
living room.

BAD BOYS - Rev. 6/24/94 PM 80B.
183 OMITTED 183

A184 INT. MASTER BEDROOM - NIGHT A184
Lowrey is admiring his work.
LOWREY
That's right. Turn around.
Theresa turns, looking transformed in the outfit put
together by Lowery.
THERESA
You think he'll like it? I
mean, I want him to, you know,
want to...

The PHONE RINGS. Lowrey is talking and picking up the
phone at the same time.
LOWREY
Want to? Baby. Someone I know's
gonna burn you right to the ground.
Get ready!
(then, into phone)
You're on the mic with Mike...
Hello?

184 INT. LOWREY'S LIVING ROOM 184
CAMERA is TIGHT ON Burnett's face. He's angry as he
stares at the phone. His worst fears have been
confirmed. He hangs up.

BAD BOYS - Rev. 6/22/94 81.
185 INT. LOWREY'S LIVING ROOM 185
An angry Burnett, pulling on a jacket, he throws some
clothes at Julie.
JULIE
Usually the guy throws me out
after he fucks me.
BURNETT
I'm different. I'm a cop. And
now I gotta kill a guy.

186 INT. BURNETT HOUSE - NIGHT 186
From the top of the stairs we see and hear...

KIDS
G'night, Uncle Mike.
THERESA
Yeah. Good night, Uncle Mike.
LOWREY
G'night, everybody.
Lowrey's at the window. Parked just down the street
is the same sedan. He goes for the phone and dials.
Waits for an answer.
LOWREY
Hey, Sanchez. It's me Lowrey...
Yeah? Same to you, pal. But
listen. I got something you'll
want a piece of.

187 INT. PORSCHE (BURNETT'S NEIGHBORHOOD) - NIGHT 187
GRINDING GEARS, Burnett stops around the corner from his
house. He turns OFF the IGNITION and turns to Julie.
BURNETT
I got some jewelry for you.
Before Julie can respond, Burnett's cuffing her to the
steering wheel.
JULIE
You prick! First you don't want
me. Then you drag me out...
(MORE)
(CONTINUED)

BAD BOYS - Rev. 6/22/94 82.
187 CONTINUED: 187
JULIE (CONT'D)
(then she gets
it)
Oh, wait. I get it. You're one
of those post-adolescent assholes
who didn't get any car sex in
high school --
BURNETT
Just shut the fuck up. I won't be
long. Try and keep out of sight.
Burnett's out of the car with the keys. Julie yanks on
the handcuffs, then goes for the glove box. But this
time it's empty.

188 INT. SEDAN - FERGUSON AND CASPER - NIGHT 188
Casper spots Burnett nearing the house.
CASPER
There's our guy. Watch him.

189 INT. BURNETT LIVING ROOM - NIGHT 189
Lowrey climbs under blanket on sofa, the back of which
faces the window. Exhausted, he turns off light and
closes his eyes. A beat. Burnett's face pops up
furtively in window, his nose pressed against the glass,
looking for evidence of adultery. He can't see Lowrey
asleep on the couch. His head drops below the window
frame, only to reappear in another window. Seeing
nothing, he moves on.

190 EXT. BURNETT HOUSE - NIGHT 190
Burnett skulks into the side yard.

191 EXT. THERESA'S BEDROOM WINDOW - BURNETT'S POV 191
The light in Theresa's bedroom is on. He sees her sil-
houette against the curtain getting undressed.

192 EXT. SIDE YARD - BURNETT 192
He climbs the trellis to second story; boosts himself
onto ledge, inches along. Stops to peer into a window
when the ledge under his feet crumbles and...
(CONTINUED)

BAD BOYS - Rev. 6/22/94 83.
192 CONTINUED: 192
BURNETT
falls. Landing flat on his back on the awning. His eyes
close with a look that says "saved." But then as he
moves. Something CREAKS.
A193 OMITTED A193
thru thru
C193 C193
193 INT. THERESA'S BEDROOM - NIGHT 193
Theresa hears SOMETHING and runs to the door and calls
out.

THERESA
Mike!
In a heartbeat, Lowrey charges into Theresa's room in his
underwear.
LOWREY
What's the matter?
THERESA
I heard a noise... I think
someone's outside...

A194 EXT. AWNING - BURNETT A194
Seemingly stuck, once again, he attempts to move.
Another, even LOUDER CREAK, then --

AWNING

gives way. And Burnett crashes loudly into the garbage
cans underneath. Lids and cans go every which way.

B194 EXT. DRIVEWAY - NIGHT B194
A lid rolls down and into the street.

C194 INT./EXT. CASPER'S CAR - NIGHT C194
Casper and Ferguson look curiously as the lid rolls into
the street.

194 EXT. UNDER AWNING - BURNETT - NIGHT 194
He crawls to his feet and as he looks up at the damage
he's done --

BAD BOYS - Rev. 6/22/94 84.
195 EXT. THERESA'S BEDROOM WINDOW - BURNETT'S POV 195
He sees Lowrey in his underwear and Theresa in her night-
gown as they part the curtains and look out.

196 EXT. SIDE YARD - BURNETT 196
In the bushes. He assumes the worst.

197 INT. THERESA'S BEDROOM - NIGHT 197
LOWREY
Go into the kids' room, turn the
lights out and wait there until
I come get you.

198 INT. LIVING ROOM - NIGHT 198
Lowrey takes gun from holster, slams in clip.

199 EXT. FRONT YARD - NIGHT 199
Lowrey switches off the porch lights as he exits house,
gun ready. Without warning, Burnett leaps from the
bushes onto Lowrey's back.

LOWREY'S GUN
Tumbles into the flower bed. Lowrey reels with an elbow,
dropping Burnett to the lawn. But Burnett rolls and
clips Lowrey's legs. Lowrey falls. Crawls for his gun.
Gets hold of it, turns and is ready to fire when --

CAR
drives past. The headlights, revealing Burnett.
LOWREY
Marcus! What the fuck --
BURNETT
... You doin' Theresa? Theresa!
LOWREY
What? Me and Theresa?
BURNETT
I hope you used protection...
'cause I don't want a fourth kid
that looks like you!
(CONTINUED)

BAD BOYS - Rev. 6/20/94 84A.
199 CONTINUED: 199
Lowrey hauls back and belts him. Burnett tears into
Lowrey and the two roll around on the lawn.

200 INT. SEDAN - FERGUSON AND CASPER 200
They can't believe their eyes.
FERGUSON
Wanna explain what this shit's
about?

201 EXT. FRONT LAWN - BURNETT AND LOWREY 201

LOWREY
This whole deal has turned you
stupid. You're seeing things
that aren't there.
(CONTINUED)

BAD BOYS - Rev. 6/22/94 85.
201 CONTINUED: 201
BURNETT
(picks up a snail)
And I suppose this isn't here?
You were going to put Snail Guard
on the lawn, remember?
THERESA (O.S.)
Mike? Are you okay!
LOWREY
I'm fine, Theresa!
(whispers)
Will you get the hell out of here
before she sees you! You're
supposed to be in Cleveland.

BURNETT
Yeah, I wouldn't want to spoil
your little arrangement!
LOWREY
And where's Julie? You didn't
leave her again.
BURNETT
She's in the car. Got her cuffed
to the steering wheel.
Lowrey could kill now. He's on his feet, grabbing
Burnett by the collar and shoving him up against the
front door.
LOWREY
(through grit teeth)
Now, listen to me. Look over my
right shoulder. What do you see
... I said look!
BURNETT
(looks)
Late model Ford. Two occupants.
LOWREY
Good. So who do you think's in
there? Ed McMahon come to tell
us we're sweepstakes winners?
BURNETT
Okay. What are we doing about it?
LOWREY
We're doing nothing. I've got it
handled. In the meantime, you
better get back to where you
belong before I shoot you myself.
(CONTINUED)

86.
201 CONTINUED: (2) 201
Lowrey holds and watches Burnett run off to the Porsche,
keeping the sedan in his periphery the entire time.
CUT TO:

202 EXT. STREET - PORSCHE - NIGHT 202
It pulls out and drives right past the sedan. Julie
in full, animated view.

203 INT. SEDAN - FERGUSON AND CASPER 203
Casper sees the girl.

CASPER
Sonofabitch! There's the girl!
But just as they start the car. KUH-THUNK -- the
CAR lurches.
FERGUSON
What the fuck?

204 EXT. BURNETT'S STREET - NIGHT 204
A tow truck has pulled up to the sedan and hooked it.
Sanchez operates the winch and Ruiz GUNS the ENGINE.
SANCHEZ
Let's go!
The tow truck hauls away Ferguson and Casper stuck in
the sedan.

CUT TO:

A205 EXT. BURNETTT HOUSE - FRONT YARD - LOWREY A205
On the front lawn. Satisfied grin on his face, he
returns to the house.

205 EXT. ORANGE BOWL STADIUM - NIGHT 205
The tow truck wheels into the stadium and stops.
Ferguson and Casper try to make their break, but the
scene suddenly ignites as the Orange Bowl lights go on.
Squad cars and about ten cops surround with guns and
batons. Ruiz and Sanchez step from the tow truck.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 87.
205 CONTINUED: 205
RUIZ
This oughta teach you not to fuck
with a cop's family.
Then the lights go out.

206 INT. LOWREY BUILDING - LOBBY - NIGHT 206
Burnett enters with Julie in tow. He looks defeated,
grass stains on his clothes, mussed hair. And here comes
Chet.
CHET
'Evening, Mr. Lowrey. May I have
a word with you?
(pulls him aside)
I was thinking that... maybe I
could see your gun. See, we
don't allow guns up in the
apartments. Mr. Lowrey usually
checks his, here, at the desk
with me... You want me to check
yours?
Burnett pulls his gun. But doesn't hand it to Chet. He
sticks it in Chet's face.
CHET
Oh, okay. It's just an option.
Burnett grabs Julie's hand and heads for the elevators.

A207 INT. NARCOTICS DIVISION - SQUAD ROOM - DAY A207

A cigar-smoking Sinclair supervises the lock-down of the
Special Narcotics Unit. Desks are being locked by IA
suits.

BURNETT AND LOWREY
enter. Just as file cabinets are hand-trucked by them.
BURNETT
Hey. What's goin' on here?
LOWREY
Wait a minute. That's my desk!
Lowrey's going to make a move on Sinclair when Howard
appears.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 88.
A207 CONTINUED: A207
HOWARD
Yeah, yeah. It's exactly how it
looks. I.A.'s shutting us down.
We're all being reassigned until
their investigation is over. In
here.
Howard pushes them into --

HOWARD'S OFFICE
Where Ruiz and Sanchez wait with one of last night's
Henchmen. His face is horribly bruised.

SANCHEZ
He says he wants his lawyer.
RUIZ
Yeah, but we told him we were
desperate men without no fuckin'
jobs, so...
(prods the guy)
So?
HENCHMAN
Okay. All I know is his name.
Foo-shay, I think. Got this
heavy French accent. The word
was he offs drug dealers. And
there was quick cash for whoever
had the balls enough to hook up
with him. I swear, man, watchin'
your house was my first gig for
the guy.

Burnett stands over the Henchman and lifts his defeated
chin to face him. Burnett has it in him to give the guy
one more hard whack for good measure, but that bruised
face proves punishment enough.
BURNETT
Yeah. I guess you're tellin'
the truth.
HOWARD
I also got the lab report from
the stuff you picked up in Noah's
trunk.
He hands it off.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 88A.
A207 CONTINUED: (2) A207
LOWREY
(reading)
Insert substance... Highly
volatile drying agent? The
greedy motherfucker! He's cutting
the dope.
BURNETT
Yeah, but Julie told me his ship
comes in on Friday? You wanna
tell me who can cut a hundred
mil worth a dope in five days?
You'd need whole lotta time cards
to make that kinda date.

LOWREY
Or one really smart sonofabitch.
HOWARD
We're in the shit, boys. And
there ain't gonna be any more time
cards for this unit unless somebody
pulls a miracle out of their ass.

B207 EXT. UNMARKED CAR OUTSIDE TIRE EMPORIUM - DAY B207
Julie's handcuffed to the steering wheel again, semi-
draped in the front seat. She can't believe it.
JULIE
I'm getting really tired of this
shit!
207 OMITTED 207

A208 INT. TIRE EMPORIUM - DAY A208
This is a yawning, tire graveyard for used and crude
tires.

BAD BOYS - Rev. 6/23/94 (PM) 89.
B208 INT. TIRE EMPORIUM - OFFICE - DAY B208
Two old codgers are trading stories in front of JOJO, a
white boy with rasta dreadlocks.
BURNETT
Hey, Jojo.
Through the office window, Jojo sees Burnett and sud-
denly bolts out the rear door and runs smack dab into
Lowrey, who body checks him back up against the office
door.
LOWREY
Good runnin' into you, Jojo.

208 INT. TIRE EMPORIUM - BATHROOM - DAY 208
Now Burnett has pushed Jojo up onto the sink. Lowrey
hangs back, vibrating with anticipation.
BURNETT
Hey, calm down. A little rap,
that's all. We're lookin' for
someone who can step on a
shitload of heroin. And do it
real fast, and real well.
We're lookin' for a pro.
JOJO
I'm in the rubber business now.
BURNETT
We're not playin' around with
you, Jojo. You know what we
want.

JOJO
I'm tellin' you straight up,
like a straight fuckin' arrow,
okay? I'm straight as a board.
I'm so straight it's fuckin'
sick.
BURNETT
Now there's a lotta dope, Jojo.
Who can cut it quick?
JOJO
You mean, cut it... cut it up,
yeah. I don't know anything about
anything.
Lowrey's had it. He pulls his gun and pushes in.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 (PM) 90.
208 CONTINUED: 208
JOJO
Hey, man. I can't believe you're
puttin' a gun on me. You're a cop.
I turn you into 'Hard Copy,' man.
Put you on the T.V. set.
BURNETT
What are you doin', man?
As Burnett tries to intercede, they talk over each other.

LOWREY BURNETT
We don't got time for Mike. Chill with that.
this. Jojo, I'm gonna No. Don't do it! This
kill you, man. I've got is illegal! He's just
fifteen bullets and I'm a white ganja-smokin'
gonna fill your rasta motherfucker. He ain't
ass fulla some hot worth it.
shit...
(reaches behind his
back)
Wait. Wait.
Burnett pushes in one last time and tries to talk Lowrey
back. Lowrey acts like he lost it. He pulls another
gun and points it at Burnett.
LOWREY BURNETT
Back up. I'm gonna bust Right on. Jojo, you're
your fuckin' ass too. on your own.
(then, back to (as he walks away)
Jojo) I'm sorry for you, Jojo.
Talk to me. Tell me what I was on your side. I'll
I want to know. I'll do just be over here. I
you man, say it. Come on. don't want no skull
fragments or brain shit
on me. When that shit
flies, it don't wash off.

CLOSE ON JOJO
scared shitless. He's gonna die. These are some crazy
motherfuckers.
BURNETT
(chimes in again)
Remember, partner. He's no good
to us if you splatter his ass.
(CONTINUED)

BAD BOYS - Rev. 6/23/94 (PM) 91.
208 CONTINUED: (2) 208
JOJO
Okay, okay. I definitely don't
know for sure. But I know a
little for sure. Three guys...
well, two guys and one of them's
dead. Crazy rocket-scientist,
Einstein fuckin' guy. Got some
rich mommy and daddy. Tell you
where he's at.
LOWREY
(holsters guns)
Man, it's a good thing you got
your memory workin'. Cuz that
dead man paperwork is a bitch.

BAD BOYS - Rev. 6/24/94 PM 91A.
209 EXT. UPPER CLASS NEIGHBORHOOD (CORAL GABLES) - NIGHT 209
Staked out around the corner are Burnett and Lowrey.
Each is clearly tired of the other. The silence is
deadly until Julie breaks the silence.
JULIE
So where's the coffee and donuts?
BURNETT
What?
JULIE
I thought that was the usual menu
when cops were on stakeout. A
little caffeine for the heart.
Some sugar-coated dough fried in
day old grease.
LOWREY
Man. Will you get off this?
You're making me sick.
JULIE
Oh, I'm sorry, Marcus. All these
hours on the case, you must miss
Theresa's home cooking.
(near Lowrey's ear)
Bet last night she fixed you up
something yummy and left it in
the microwave for you.
Burnett starts to steam.
LOWREY
Yeah. Somethin' yummy.
JULIE
I imagine there was something
yummy waiting for you when you
finally made it to bed --
BURNETT
(wheels)
Listen, lady --
But Burnett's face ignites with headlights at their
rear. Doors open. Lowrey checks the rear-view mirror.
He sees two private security cops named DE SOUZA and
TOWNE. They split and approach either side of the
unmarked sedan.
LOWREY
Oh, man. It's the fuckin' pretend
police.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 92.
209 CONTINUED: 209
BURNETT
Be nice. After tomorrow we might
need 'em for a job reference.
Lowrey rolls down his driver's window in time to hear...
TOWNE
Well, what do we have back here?
Looks like we got us two pimps
and a hooker.
DE SOUZA
Hey, fellahs. Maybe if she does
us both we'll let you leave with
your pride intact.

LOWREY
Excuse me. One moment.
(rolls up the window)
Let's fuck with these bozos.
Burnett nods his approval. Lowrey lowers the window.
LOWREY
Now, where were we?
TOWNE
Outta the car. Hands where we can
see 'em. Feet spread.
Both hobby cops open the doors for Lowrey and Burnett
respectively. Looks pass between them as they step out
and assume the positions. And Towne starts by frisking
Burnett's shoulders.
BURNETT
Oh, that's not how you frisk a
potential lawbreaker. You gotta
start at the waistband. See if
he's carrying a piece.
Towne stalls a beat, then self-consciously goes to
Burnett's waistband where he feels a --
TOWNE
Gun!
Both hobby cops instantly withdraw, their own pieces
drawn and leveled on Burnett and Lowrey.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 93.
209 CONTINUED: (2) 209
LOWREY
Whoah. You better watch it,
fellahs!
(very slowly)
You know, it would be very bad
if you shot and killed two
helpless pimps and a call girl...
But it would be even worse if you
shot two policemen and their
witness on a stakeout.
Looks pass between the hobby cops.
LOWREY
(slowly turns)
Now I'm reaching slowly for my
shield... very slowly... here it
comes... just about got it...
(reveals his badge)
Ooh, look at that. It's a
detective's shield! All gold and
shiny. A smart fellah wouldn't
fuck with somebody who had one of
these in his pocket. So... Let's
see. I guess that makes us
policemen. And you...
BURNETT
Not.
He shows his shield. Both hobby cops lower their guns,
unsure about what's next. Burnett moves in.
BURNETT
Now, some rent-a-cops have
licenses to carry weapons, where
others do not. Which might you
be? You wouldn't happen to have
those permits handy, would you?
From the looks on the hobby cops' faces, Julie can see
that they don't.
JULIE
Guess we know the answer to that
one.

BAD BOYS - Rev. 6/22/94 94.
210 EXT. UPPER CLASS NEIGHBORHOOD - NIGHT (LATER) 210
De Souza and Towne lay face down and cuffed on the
pavement while the CAMERA LIFTS BACK TO the car.
BURNETT
I bet you miss your wife, kids...
I bet you miss them a whole lot.
LOWREY
I don't worry. They're in good
hands.

211 INT. BURNETT'S LIVING ROOM - NIGHT 211
Theresa gives a peek out the window. There's another
suspicious car on the street.

212 EXT. BURNETT'S STREET - UNMARKED CAR - NIGHT 212
Sanchez and Ruiz are on protective duty in front of
Burnett's house.
SANCHEZ
Are you kidding, man? Desi was
the brains behind the whole
operation. That's why they
called their company Desilu.
Desi was first. Lucy second.
Get it? Desi-Lu?

213 INT. LOWREY AND BURNETT'S CAR - DAWN 213
Coral Gables stakeout. Julie's passed out and, once
again, sleeping in the rear of the car. In the glow of
the faltering streetlights and the approaching dawn,
she couldn't look more beautiful. And from his post in
the driver's seat, he's looking at her with a longing
that goes well beyond lust. Then Burnett breaks the
silence.
BURNETT
Two o'clock. The red Civic.

214 EXT. ELLIOT'S HOUSE - BURNETT'S POV - TELEPHOTO ANGLE 214
FROM STAKEOUT CAR - DAWN
Elliot shutting the door to his little red Civic,
jangling keys as he's hurrying up the walk to the front
door. He looks like he hasn't slept or showered in days.

95.
215 INT. STAKEOUT CAR - DAWN 215
BURNETT
Let's just hope he didn't come
home for a nap.
TIME CUT TO:

216 EXT. ELLIOT'S HOUSE - MORNING 216
Elliot exits the house in a hurry. Hair wet from a
shower and fresh change of clothes. He fumbles with the
keys to his Civic, gets in and drives.

217 INT. STAKEOUT CAR - MORNING 217

LOWREY
I'm on him.
(to Julie)
Hey, buckle up back there.
JULIE
Wha...?
Lowrey has the keys in the ignition and is stomping on
the gas.

218 EXT. MIAMI STREETS - MORNING 218
Tailing scene as Lowrey and Burnett tail Elliot through
morning traffic.

219 EXT. BOAT YARD - MORNING 219

Lowrey and Burnett's unmarked sedan stops about two
hundred yards from the freighter.

220 EXT. BOAT YARD - DRUG FREIGHTER - TELEPHOTO POV - 220
MORNING
Elliot's out of the car in a flash and crawling aboard
the ship. But as he disappears, Casper appears with his
own pair of binoculars.

221 INT. STAKEOUT CAR (BOATYARD) - MORNING 221
BURNETT
They've made us. Let's move.
Lowrey FLOORS it.

BAD BOYS - Rev. 6/22/94 96.
222 INT. LOWREY AND BURNETT'S CAR - EN ROUTE - MORNING 222
Lowrey's driving in his typical, pedal to the metal
style while Burnett talks on the radio.
BURNETT
Yeah. Tell Howard to assemble
the troops. We just made the
dope lab. We'll be at the P.D.
in one hour.
JULIE
So what am I gonna do?
LOWREY
You're gonna keep your sweet ass
nice and quiet back at my place.

JULIE
What?
LOWREY
Mike's place. I said Mike's.
Lowrey rolls his eyes. He can't wait for this to end.

223 INT. BURNETT KITCHEN - MORNING 223
Typical pandemonium. Theresa is making/serving breakfast
while the TV BLARES. Quincy is channel surfing on the
TV when he comes up with the news footage of the
explosion, followed by more footage of Lowrey, Julie, and
Burnett at the scene.
QUINCY
Hey, it's Dad and Uncle Mike.

NEWS ANCHOR (V.O.)
In our continuing report on police
violence, the most recent incident
involving two Miami P.D. officers
remains unexplained by department
spokesmen. This high-speed chase
was captured two nights ago by
our Live Copter 9 news team. And
while the driver was killed, both
police officers involved in the
incident seemed to escape without
injury.
THERESA
Kids, you go over to the
neighbors' house. I'll be right
back.
(CONTINUED)

BAD BOYS - Rev. 6/22/94 97.
223 CONTINUED: 223
JULIE
Where you going?
THERESA
Mommy's going to Cleveland.

224 INT. LOWREY'S CONDO - LOWREY, BURNETT, AND JULIE - DAY 224
Bang, they're through the door. Grubby and tired from
the all-night stakeout.

225 INT. LOBBY - MORNING 225

Theresa enters building, ignores Chet and heads straight
for bank of elevators.
CHET
Lady, all visitors must be
announced.
THERESA
Announce this!
In a motherly flash, she's got Chet by the ear and she's
dragging him over to the elevator. He yowls the whole
way until he sticks his master pass-card in the elevator
lock. Theresa lets go.

226 INT. LOWREY'S CONDO - DAY 226
Julie is framed in the bedroom doorway, somewhat sadly
watching Burnett and Lowrey scramble to get ready for
the bust.

JULIE
So, I guess when you get back, it's
gonna be over.
LOWREY
That's the plan... So, Mike. Loan
some of those ass kicking clothes.
BURNETT
Third drawer down.
(as doorbell rings)
Hey, Julie. Do me a favor and see
who that is.

BAD BOYS - Rev. 6/22/94 98.
227 INT. CONDO - LIVING ROOM - DAY 227
Julie looks through the peephole, then opens the door.
And there's Theresa. Julie's hip.
JULIE
Which one do you want? The tall
one or the short one?
THERESA
Oh, I got plenty in me to kill 'em
both. But it's the short one I'm
gonna divorce.
She pushes past.
JULIE
Thought so.
Julie watches Theresa charge headlong into --

228 INT. CONDO - BEDROOM - DAY 228
Burnett's stripped to his pants and T-shirt. While
Lowrey's down to his white boxer shorts. He's talking
and wiping down his gun with a rag.
LOWREY
Man, I can't wait to see the look
on Howard's face when we tell
him...
(seeing Theresa)
Holy shit! Hi, Theresa... honey.
THERESA
Save your crap, Mike.

LOWREY
Mike what? What'd he do?
BURNETT
Theresa. It's not how it looks.
THERESA
It ain't Cleveland, neither.
LOWREY
Where's Julie?
Lowrey pushes past Theresa into --

229 INT. CONDO - LIVING ROOM - DAY 229
Where Julie is gone! The front door is wide open.

BAD BOYS - Rev. 6/24/94 PM 99.
230 INT. LOWREY'S CONDO - ELEVATORS - DAY 230
Julie's inside. She hits the close door button. But
Lowrey's there to catch it.
LOWREY
Julie. We wanted to tell you...
I especially wanted to tell you --
JULIE
You think I didn't know? God, you
are so stupid! And to think I let
you use me like you did, Max.
Why?
LOWREY
Julie --

JULIE
Wait. I know why. Because you
said you needed me. Jesus, who's
the stupid one now?
LOWREY
We still need you.
He reaches for her.
JULIE
Fuck you!
Julie slams a fist into Lowrey's face. The elevator
doors shut. Then Burnett comes hauling down the
corridor with Theresa at his heels. He pounds the
elevator button.
THERESA
You stayed away from home just one
night too many, Marcus.
BURNETT
Theresa. She's a material witness!
It was orders!

231 INT. LOWREY'S CONDO - LOBBY - DAY 231
The elevator doors open and Julie makes for exit. She
sees a cab parked outside, slips back on her spiked heel
and starts to run for it when --

FOUCHET
enters, with Casper and Ferguson to either side.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 99A.
231 CONTINUED: (A1) 231
They sweep into the lobby, stalling just inside the
doorway when they realize that their target is right
there in front of them, frozen like a deer caught in the
proberbial headlights.
To the right and left, people at the mailboxes. Chet
on the phone behind the desk. But he's looking at
Julie. Then...
FOUCHET
Grab her.
But the doors to the second elevator open.
(CONTINUED)

BAD BOYS - Rev. 6/22/94 100.
231 CONTINUED: 231
Burnett and Lowrey step out in time to see Julie
looking to them and the bad guys about to make their
move.

WIDE SHOT FROM ABOVE
Fouchet and his henchmen LEFT. Burnett and Lowrey to
the RIGHT. And Julie in the MIDDLE. Fouchet is the
first one to draw down.
LOWREY
Julie! Drop now!
Pandemonium.

GUNS drawn and BLAZING. All three villains, plus Burnett
and Lowrey, diving and FIRING.

PEOPLE IN LOBBY
Scream and duck for cover. Smoke and plaster fill the
air.

BURNETT
Pushes Theresa back into the elevator, making her lay on
the floor as BULLETS CUT above.

LOWREY
Slips behind a pillar as BULLETS WHIZ past.

JULIE
On floor. In the middle. Crawling for cover when --

FOUCHET
With balls the size of Pennsylvania. Two GUNS in hand,
walks forward with barrels fixed and FIRING. Clips out
on one, tosses the gun aside, then, with his free hand,
reaches down and grabs Julie by the hair and lifts her
until she stands.
FOUCHET
Let's go!
(CONTINUED)

BAD BOYS - Rev. 6/22/94 101.
231 CONTINUED: (2) 231
With a gun in her side, he backs away and shoves her
through the exit. Casper and Ferguson follow.

LOWREY
Swings around the pillar, gun leveled and running after
them.
LOWREY
Julie!!!!
Meanwhile --

232 INT. LOWREY LOBBY - ELEVATOR - BURNETT AND THERESA 232
Into the open elevator, Burnett slides his gun over to
her.
BURNETT
Go upstairs. And don't let anybody
in but me... Do it!
Burnett presses the close door button. The doors close
just as Theresa reaches for him, calling --
THERESA
Marcus, I love you.

233 EXT. LOWREY'S CONDO - DAY 233
Fouchet shoves Julie into a waiting car. All three bad
guys pile in and the CAR PEELS RUBBER just as Lowrey
makes the doorway. Lowrey doesn't stop. He doesn't
even wait for traffic. In nothing but his underwear,
he appears from the building, turns the corner out the
door, launches into traffic like a shot, spinning off
bumpers, chasing Fouchet's car on foot.

A234 EXT./INT. FOUCHET'S CAR (INTERSECTION) - DAY A234
Fouchet's car slides into the intersection and stalled
traffic. To the right: a footbridge. The car swings a
hard right.

234 EXT. FOOTBRIDGE 234
Where a male nurse pushing an old man in a wheelchair are
in the way. SLAM! The nurse tumbles up and into
Fouchet's windshield.
(CONTINUED)

102.
234 CONTINUED: 234
WHEELCHAIR
Empty and spinning.

235 EXT. OTHER END OF FOOTBRIDGE 235
Metal pylons imbedded in concrete.
FOUCHET
Out of the car!
The doors fly open and all three are out in the middle
of the stalled traffic, Julie being drug along with
them. The gang cuts down an alley.

236 EXT. ALLEY - LOWREY 236
Turns the corner, running up over car roofs and hoods.
He lowers his gun and tries to draw a bead on Fouchet
and the gang. They've got Julie and now they're running.

237 EXT. ALLEY - BURNETT 237
Appears behind Lowrey. Lowrey waves him in another
direction. Burnett hauls one way. Lowrey the other.

238 INT. BEAUTY SALON - DAY 238
MUZAK. Old ladies getting their hair blued and curled
when -- BANG! Fouchet and the gang enter. Curlers fly.
Screams!

LOWREY
enters. He dives to the floor as Casper stops and FIRES.
BULLETS RIP through the salon walls and mirrors. Lowrey
ends up under an old lady's dress.

239 EXT. OCEAN BLVD. (SOUTH BEACH) 239
Exiting the beauty salon and stumbling through a
crowded cafe runs Fouchet and the gang, mauling their
way through tables and patrons. Lowrey, only moments
behind, pushing his way through the same path.

103.
240 EXT. INTERSECTION 240
Fouchet stops right in the middle. Picks the first
car that's headed for him. Levels a GUN on a taxi cab
and FIRES two quick rounds -- BAM BAM!! The driver of
the car instantly slumps. Ferguson's seen this before.
He's around to the driver's side of the car, pulling the
dead man out and leaving him on the street. Casper and
Fouchet shove Julie inside and they're off again.

241 EXT. INTERSECTION 241
But here comes Burnett. Crossing traffic. He's got no
gun. So he jumps aboard Fouchet's car just as it gets
into gear. The WHEELS SPIN. The CAR LURCHES ahead.

242 INSIDE CAB 242
Ferguson aims his pistol upward. He's about to fire
into the roof when Julie shoves him. GUNSHOTS RING
out sideways.

243 EXT./INT. CAB 243
BULLETS RIP to either side of Burnett. Then Fouchet
stomps on the brake and Burnett tumbles forward and
onto the pavement.

CLOSE ON BURNETT
He rolls, makes it to one knee. But his other leg
gives way.

FOUCHET
He sees his chance and GUNS the ENGINE. The cab barrels
at Burnett, who's stuck in the middle of the boulevard,
about to become instant roadkill.
Then --

244 EXT. STREET 244
From out of nowhere, here comes Lowrey. Dashing out
across the boulevard and snatching his partner from the
deadly grille of the cab.
(CONTINUED)

104.
244 CONTINUED: 244
TAXI CAB
hauls on by. Leaving Burnett and Lowrey in a heap of
their own, both trying to catch their breath.
LOWREY
Don't ever say I wasn't there for
you.

245 EXT. MIAMI PD - MOTORPOOL - DAY 245
TAC teams and uniform cops swarm around their cars.
All waiting as Burnett and Lowrey arrive in their
unmarked car. Howard approaches.

HOWARD
It's about fuckin' time.
BURNETT
We lost the girl.
HOWARD
But you found the dope, right?
So let's go get it back.
A bicycle BELL RINGS. Heads turn. And here comes a
BOY on his bike, serpentining his way through the maze
of cars and cops until he gets to Lowrey, Burnett, and
Howard.
BOY
Which one of you's Lowrey? I got
somethin' for him.
LOWREY
At least I'm me again.
(hand out)
I'm Lowrey.
From his back pocket, the boy extracts a cellular flip
PHONE. He hands it to Lowrey. He presses the power
button and, almost instantly, it RINGS.
LOWREY
(presses send)
Yeah. This is Lowrey.

246 INT. FREIGHTER - DOPE LAB - DAY 246
While dope is lifted and loaded from the open hold,
Fouchet is revealed at the other end of the cellular
call.
(CONTINUED)

105.
246 CONTINUED: 246
FOUCHET
I have something for you to listen
to.
Fouchet lifts his PISTOL and FIRES a single shot. BAM!
INTERCUT WITH --

247 EXT. MIAMI PD - MOTORPOOL - LOWREY 247
He jolts at the sound of GUNFIRE.

248 INT. FREIGHTER - DOPE LAB - FOUCHET 248

Where the CAMERA SWISH PANS ACROSS TO a very dead Elliot.
FOUCHET
That bullet just killed the
chemist. Now, I have but four
hours left to make my deal. Fuck
with my timetable and the next
bullet kills the girl.
Julie is gagged and sitting on the floor, scared
shitless.

249 EXT. MIAMI PD - MOTORPOOL - LOWREY 249
He's in a vice. Duty or the girl. Then --
LOWREY
You twisted motherfucker...
(then...)
Jojo, you sonofabitch. When I get
my hands on you, I swear, I'm gonna
kill you.
(hangs up)
The snitch who tipped us to the
dope lab? Turns out to be a
bogus address.
BURNETT
Bogus address?
HOWARD
How's this? I'll kill the little
prick for you. That's cuz you're
already dead.
(waves at the
troops)
Okay, you guys. Put 'em back in
the lockers.
(CONTINUED)

106.
249 CONTINUED: 249
En masse, all the cops act as if the wind had been
knocked from their sails.

250 INT. LOW-DOWN BAR - DAY 250
Empty, save for the daytime regulars at the bar and
Burnett and Lowrey in a rear booth.
BURNETT
How'd he know we were gearing up
to go? It's like he's known all
along where we're gonna be and
when.

LOWREY
You know that once he sells the
dope, he's gonna kill her just
like he did Max.
BURNETT
Three little angels. Julie kept
talking about his three little
angels.
A barkeeper appears with two beers. Burnett automati-
cally reaches for his wallet.

CLOSE ON BURNETT'S WALLET
Where out pops a picture of his three children.
LOWREY
If she dies, I'm done with it.
The whole cop thing.

BURNETT
(looking at his
kids)
Three little angels.

251 INT. SQUAD ROOM - DAY 251
Francine is at her file desk. Looking pretty much the
same as always. Same smile. Same easy manner. Then
the CAMERA REVOLVES AROUND her and SETTLES ON those
pictures on her desk. Her three little boys --
including the one in uniform. The CAMERA TILTS TO --

LOWREY AND BURNETT
standing over her desk.
(CONTINUED)

107.
251 CONTINUED: 251
Neither of them smiling.
FRANCINE
Hey, fellahs. What's the joke.
(as she gets nothing
back)
Really. I want to know.
Soon, though, the facade fades. Francine knows she's
been caught.

252 INT. LADIES' ROOM - DAY 252
Burnett holds the door while Lowrey holds Francine.
She's broken, crying, and giving up the ghost of her
past.
FRANCINE
It was a birthday party... You
know, after hours. Just the
civilian staff... We were drinking.
And everybody. They all had boy
friends or their husbands.
LOWREY
So you were alone?
FRANCINE
He was so nice to me. He said I
was beautiful, too. I guess I
wanted to believe him...
(then ashamed,
starting to shake)
He took some horrible pictures of
me. I don't remember any of it.
I'd had too much to drink. I
wondered if he'd drugged me.
Later... he threatened to show
them to my boys... my little
angels. Said he'd pin the
pictures up on the grade school
bulletin boards for all their
classmates to see if I didn't do
what he wanted.
BURNETT
He wanted someone inside the P.D.?
FRANCINE
At first, it was about drug busts.
Dealers under surveillance.
(MORE)
(CONTINUED)

108.
252 CONTINUED: 252
FRANCINE (CONT'D)
He'd steal from them before we
could make the case. And then when
the department gave the air
conditioning to Mr. Orona...
BURNETT
Anything you can tell us about him?
FRANCINE
What do you say about someone who
rips off drug dealers? A man
like that ain't scared of nobody.
Not the police. Not you guys.
Nobody.
(beat)
He's the scariest man I ever met.
LOWREY
Yeah. But does he still trust
what you tell him?

253 EXT. BOATYARD - DAY 253
Fouchet is supervising the loading of the dope onto three
canvas-backed, military-styled trucks when his CELLULAR
PHONE RINGS. He answers.
FOUCHET
Yes?

254 INT. HOWARD'S OFFICE - DAY 254
Francine is on the phone with Howard on another
extension.
FRANCINE
I have some more information for
you, Mr. Fouchet.

255 EXT. FLORIDA POWER PLANT (MIAMI) - DAY 255
A Florida Power van. Inside...

256 INT. ELECTRONICS SURVEILLANCE VAN - DAY 256
Burnett and Lowrey wearing headsets, listening in on the
conversation between Fouchet and Francine.
INTERCUT WITH:

109.
257 EXT. BOAT YARD - DRUG FREIGHTER - FOUCHET 257
He's surprised to hear from Francine.
FOUCHET
Yes, Francine... What is it?
FRANCINE
Miami P.D.'s called in the D.E.A.
task force. They know the deal's
going down in just two hours. So
they've deployed agents to every
point of entry, airports, marinas,
etc...
FOUCHET
Is that all?

FRANCINE
Yes.
FOUCHET
I'm very pleased, Francine.
You're the best pet I've ever
had.
He hangs up.

258 INT. SURVEILLANCE VAN 258
Back in the van Lowrey turns to Sanchez.
SANCHEZ
Got him! Ma Bell says as long as
he keeps his cellular phone turned
on, we can track him.

BURNETT
Call Howard. Tell him we're gonna
need lotsa back-up.

259 EXT. HELICOPTER SHOT POV - FLYING OVER DOPE CONVOY 259
Three trucks making their way through Miami.

260 INT. REAR CABIN OF MIDDLE DOPE TRUCK 260
Ferguson is seated and staring across at Julie. Across
his lap is a shotgun. She may be bruised and abused.
But she's still got some bite.
(CONTINUED)

110.
260 CONTINUED: 260
JULIE
I forget the formula. Big gun,
big dick? No. Little gun, big
dick? No. Big gun, little dick?
Yeah. Yeah. I think that's it.

261 INT. FORWARD TRUCK - FOUCHET 261
The CAMERA ZEROES IN ON his cellular phone. The power
light is green.

262 INT. SURVEILLANCE VAN - DAY 262

Sanchez gives the update.
SANCHEZ
They're turning north onto the
Orange Highway.
BURNETT
We can make better time if we cut
across the Biscayne Bridge.

263 EXT. BISCAYNE BRIDGE - DAY 263
The van cuts across traffic, barely making the ramp which
swirls up onto the bridge.

264 EXT. ORANGE COAST HIGHWAY NORTH - DAY 264
The dope convoy rolls OVER the CAMERA.

CUT TO:

265 EXT. ORANGE COAST HIGHWAY NORTH - HELICOPTER POV SHOT - 265
DAY
As the convoy makes a right turn off the highway onto an
old tar and gravel track.

266 EXT. ORANGE CITY AIRFIELD - CLOSE ON SIGN: ORANGE CITY 266
AIRFIELD
The trucks roll toward an old airport which consists of a
small, pilot's terminal and four or so hangars spread out
over the ten acre site.

111.
267 EXT. HANGAR 3 - DAY 267
Two henchmen for the buyer open the yawning doors of this
massive, five-story hangar to reveal a C-123 cargo
aircraft. The convoy of trucks enters.

268 EXT. ORANGE HIGHWAY - DAY 268
The surveillance van is parked at the side of the road.

269 INT. SURVEILLANCE VAN - DAY 269
THROUGH a floor-mounted SPOTTING SCOPE we see the last of
the trucks roll into Hangar 3 and two of the buyer's
henchmen shut the doors.

BURNETT
That's it. That's where they're
making the deal.
Burnett swivels the spotting scope.

270 EXT. ORANGE CITY AIRFIELD - SCOPE'S POV 270
PANNING LEFT AND RIGHT ACROSS the landscape of tall reeds
and distant buildings. Finally he STALLS ON a garbage
truck and its four-man crew rolling dumpsters.

271 INT. HANGAR 3 - DAY 271
Fouchet shakes hands with the BUYER. Upon which time one
forklift begins to drive pallets full of cash from the
open cargo door of the aircraft while another drives
pallets full of dope.

BUYER
Three hundred million and very,
very fresh. Too much to count,
eh?

ON JULIE
As Casper pulls her from the rear of a truck and
handcuffs her to the door of a cab.
BUYER
Who's the bimbo?
FOUCHET
Simply part of another
transaction.
(CONTINUED)

112.
271 CONTINUED: 271
The operation moves swiftly. Dope pallets for cash
pallets. Smooth, just like the original heist. Two fuel
trucks are moved in to gas up the aircraft.

272 EXT. AIRFIELD - DAY 272
Rounding the corner from Hangar 3 -- here comes the
garbage truck. CLOSER INSPECTION REVEALS Ruiz and
Sanchez at the helm with both Lowrey and Burnett hanging
from the sides. All of them wear dirty white jumpsuits
and protective masks.

273 EXT. HANGAR 3 - DAY 273

The two Buyer's henchmen stiffen at the sight of the
oncoming truck. Their hands slip inside their coats to
MP5-Ks slung under their armpits. But --

274 EXT. HANGAR 3 - GARBAGE TRUCK - DAY 274
It veers and swings over toward two nearby dumpsters.
With Sanchez keeping a wary eye on the two bad guys and
Ruiz to operate the hydraulics, Burnett and Lowrey drop
from the truck and do their best working-for-the-city
amble over to the dumpster. Business as usual. They
wheel it over and position it in front of the two lifting
forks where the garbage appears to be expertly lifted and
dumped into the truck.

CLOSE ON DUMPSTER
As it lowers, the gearing seems to get hung up. The
hydraulics' arms won't work, leaving the dumpster stuck
in the air.

RUIZ AND SANCHEZ
Begin speaking Spanish, one blaming the other for this
fiasco. Angry words. Finally, Ruiz has had enough. He
tosses down his gloves and hat and begins stomping off as
if he's just quit his stinking job. He's headed right for
the henchmen, his mouth moving and spewing and moving and
spewing. The henchmen look to each other, not knowing
what to think. Ready for anything when --
CLICK CLICK -- GUNS COCKING.
Both Burnett and Lowrey are right behind the henchmen with
guns at the base of their necks.
(CONTINUED)

113.
274 CONTINUED: 274
BURNETT
Mouths shut, feet moving. Now,
walk.

275 EXT. HANGAR #3 - ANGLE ON DUMPSTER 275
As it lifts once again to the air, this time dumping the
two henchmen into the truck.

ANGLE - HIGH ABOVE TRUCK
As the human garbage is deposited.

276 INT. HANGAR 3 - C-123 - DAY 276
The Buyer buckles himself into the pilot's seat of the C-
123. His crew shuts the cargo hatches and he gives a
pleased salute to Fouchet. The ENGINES TURN OVER and the
propellers move. Meanwhile --

277 INT. HANGAR 3 - TRUCK ENGINES 277
START. Loaded with cash, they're ready to go. Fouchet
gives the signal to open the doors.

CASPER AND FERGUSON
Move to open the doors. They give a good shove. Still
nothing. So they bang and shout.
CASPER
Hey! Wake up out there! Open
it up!

278 EXT. HANGAR 3 - DAY 278
One of the dumpsters is parked in front of the doors. No
exit.

279 INT. HANGAR 3 - DAY 279
Just as Casper and Ferguson give a helpless look to
Fouchet...

114.
280 INT. HANGAR 3 - ANGLE ACROSS HANGAR - DAY 280
The garbage truck barrels through the rear wall,
instantly colliding with the left wing section of
aircraft. The wheel assembly buckles and the aircraft
twists onto one wing. Fuel spills.

281 INT. C-123 (HANGAR 3) - ON BUYER 281
Tossed from his seat and thrown across throttle. The
ENGINE ROARS!

282 INT. HANGAR - ONE CANVAS-BACKED TRUCK 282
The tarpaulin rips and a pallet of cash busts open.
Money swirls inside the hangar.

283 INT./EXT. C-123 - CARGO DOORS 283
Open. Henchmen ready to kill. Then --

284 FROM EMPTY DUMPSTER 284
Pop up Burnett and Lowrey. MP5-Ks in hand. They BLAZE
the cargo doors and CUT DOWN the rest of the Buyer's
henchmen.

CASPER AND FERGUSON
charge. GUNS BLASTING.

BULLETS

RIP across the dumpster, moving up into the truck cab.
Ruiz and Sanchez dive and roll to either side.
Meanwhile, the sparks ignite the spilled fuel.
LOWREY
Move it or lose it!
Burnett and Lowrey climb from the dumpster and run.
Casper and Ferguson have a clear shot. They level and
aim, but...
KUH-WHOOM!
The FUEL TANK on the aircraft EXPLODES. The truck drivers
dive for cover. Charging for the open hole in the wall.

115.
285 INT. AIRCRAFT (HANGAR 3) 285
Inside the aircraft the precious dope catches fire.

286 INT. HANGAR 3 - ON CASPER AND FERGUSON 286
Looking through the flames. Shielding their eyes. Ruiz
and Sanchez appear from behind.
SANCHEZ
Remember us?
The two bad guys turn with their guns. The flames
igniting their already battered faces. But they don't
turn fast enough. Both cops FIRE in unison. Ferguson
and Casper fall. PULL BACK --

287 INT. HANGAR 3 - WIDE ANGLE 287
One aircraft ENGINE still ROARING. The money swirling
and burning, falling from the roof like a fiery rain.
And --

288 INT. HANGAR 3 - LOWREY AND BURNETT 288
Easing through the wreckage, ever-so-cautious.
LOWREY
Julie!
JULIE (O.S.)
Michael!
Her VOICE ECHOES.

CUT TO:

289 INT. HANGAR 3 - FOUCHET 289
He's handcuffed himself to Julie, dragging her deeper
and deeper into the hangar. The smoke is getting thicker
and swirling with the burning cash.

290 INT. HANGAR 3 - BURNETT AND LOWREY 290
Signals between the two. They split wider. Moving
toward those locked doors.

291 INT. HANGAR 3 - BACK ON FOUCHET 291
At the locked doors. He shoves against them in a futile
rage. Julie begins to choke on the fumes.

116.
292 INT. HANGAR 3 - SEPARATE SHOTS - BURNETT AND LOWREY 292
Each placing their faces against their own sleeves. The
smoke is thicker, swirling in waves.

293 INT. HANGAR - DOORS - FOUCHET 293
Shoving the doors. Pushing and pushing. Then --

294 FROM HAIL OF SMOKE AND BURNING CASH 294
Appear Lowrey and Burnett. Twenty yards apart and
closing. Guns carefully aimed. Fouchet pulls Julie
close.

FOUCHET
I was going to fuck her, then
kill her. Now it looks like I'm
only going to do the latter.
LOWREY
Either we O.D. on the air or
the whole place blows. We're
dying anyway.
BURNETT
Let her go and you'll walk. You
can keep the dope and the money.
(coughs)
Just the girl and we all get out
of here.
FOUCHET
What if I don't have the key.
JULIE
He threw it in the --
FOUCHET
(yanks her)
Shut up! It's gone. She's dead.
Unless you move aside.
Burnett eases further right. Gun carefully aimed. His
eyes are stinging. Lowrey goes left. But he's lowering
his gun.

FOUCHET
Pulls Julie closer. Gun at her head. Looking to
Burnett. While Lowrey is nodding to Julie. Nodding
for her to --
(CONTINUED)

117.
294 CONTINUED: 294
LOWREY
Drop, Julie!
She drops. Burnett has a clear shot when --

295 HANGAR DOORS 295
Swing wide and way, way open. Blinding light. NOISE.
HELICOPTERS. And about fifty cops at the ready. Rounds
chambered. Rifles leveled.

296 QUICK SHOTS 296

Fouchet, Julie, Lowrey, Burnett. All with the same idea.
They bolt for daylight as fast as they can go because --

297 HANGAR 297
EXPLODES in such a concussion it knocks all four of them
to the dirt. The hangar crumbles.

298 EXT. HANGAR - CLOSE ON BURNETT 298
As he looks back on the conflagration.
BURNETT
Sanchez and Ruiz...
Then --

FOUCHET WITH JULIE

He yanks her back up onto her feet, wild-eyed. He's
still got the gun on her.
LOWREY
(hands up for all
the cops to see)
Don't shoot!!! Hold your fire!!!

FOUCHET
Twisting Julie for all to see. The cops' rifle sights,
all glinting in the sun.
FOUCHET
I'll kill the girl!!!
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 118.
298 CONTINUED: 298
Fouchet raises Julie's hand high in the air to show all
of them the handcuffs when -- KA-POW! -- a SHOT RINGS
OUT.
CLOSE ON CUFFS
The link is snapped in two by the bullet. Julie falls
to the ground. While --
BURNETT AND LOWREY
UNLOAD their CLIPS in a CRESCENDO of GUNFIRE. Fouchet
crumples in a heap.
CUT TO:

299 EXT. HANGAR - HOWARD 299
The eye behind the smoking sniper rifle. He reveals a
pleasured smile.
HOWARD
Swish.
Then he turns to Sinclair, who stands only feet away.
HOWARD
Investigate that, asshole.

300 EXT. HANGAR - JULIE 300
She finds her feet and runs to Lowrey. Right into his
arms. He holds her tight, but she winces from a nasty
cut on her shoulder.

JULIE
Ow. This shit really hurts.
LOWREY
Stick around. I'll give you a
bullet to bite.
Finally --

SANCHEZ AND RUIZ
They appear. Alive and well. Big grins, helping Burnett
to his feet. Brushing him off.
BURNETT
Hey, hey...
(then with a smile)
Let's go get our jobs back.

BAD BOYS - Rev. 6/24/94 PM 119.
301 EXT. BURNETT HOUSE - DAY 301
The front door opens and all the little Burnetts come
screaming out...
BURNETT KIDS
Daddy Daddy Daddy the hero!!!
... into the arms of their father. He gathers them all
into one big hug.
BURNETT
Daddy's home!
Behind Burnett appear Lowrey and Julie, arm in arm.
The kids run to...

BURNETT KIDS
Uncle Mike, Uncle Mike.
Then...
BURNETT
Baby!
Theresa framed in the front doorway, looking smashing in
the outfit Lowrey picked out for her. Burnett ambles up
the walk into her arms. They hug and kiss, Theresa
tossing a wink Lowrey's way.
LOWREY
Manana, partner. Peace. Okay,
kids. Pile in. And watch the
leather and windows this time?
JULIE
You got a real way with kids,
Lowrey.

LOWREY
You see anybody complaining?
BURNETT
Hey. Where are the kids goin'?
THERESA
Didn't you know? We got us a new
babysitter.
She kisses him.
BURNETT
You mean...
THERESA
It's quality time, Marcus.
(CONTINUED)

BAD BOYS - Rev. 6/24/94 PM 120.
301 CONTINUED: 301
Burnett shuts the door ON the CAMERA. The screen GOES
TO BLACK. Then UNDER CREDITS:

302 OMITTED 302
thru thru
304 304

305 INT. LOWREY'S CONDO - BATHROOM - NIGHT 305
Little Megan is on the potty. She catches Lowrey as
he passes.
MEGAN (V.O.)
Uncle Mike. I did it!

THE END

Bad Boys

Writers : Michael Barrie Jim Mulholland Doug Richardson
Genres : Action Comedy

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From Wikipedia, the free encyclopedia

Bad Boys
Theatrical release poster
Directed by	Michael Bay
Screenplay by	Michael Barrie Jim Mulholland Doug Richardson
Story by	George Gallo
Produced by	Don Simpson Jerry Bruckheimer
Starring	Martin Lawrence Will Smith Téa Leoni Tchéky Karyo Theresa Randle Joe Pantoliano
Cinematography	Howard Atherton
Edited by	Christian Wagner
Music by	Mark Mancina
Production companies	Columbia Pictures Don Simpson/Jerry Bruckheimer Films
Distributed by	Sony Pictures Releasing
Release date	April 7, 1995
Running time	119 minutes^[1]
Country	United States
Language	English
Budget	$19 million^[2]^[3]
Box office	$141.4 million^[2]

Bad Boys is a 1995 American buddy cop action comedy film directed by Michael Bay in his feature directorial debut, and produced by Don Simpson and Jerry Bruckheimer. The film stars Martin Lawrence and Will Smith as two Miami narcotics detectives, Marcus Burnett and Mike Lowrey. The film received mixed reviews from critics, was commercially successful and spawned two sequels, Bad Boys II (2003) and Bad Boys for Life (2020).

Plot[edit]

Lifelong friends Mike Lowrey and Marcus Burnett are Miami police detectives investigating $100 million of seized Mafia heroin, which was stolen from a secure police vault. Internal Affairs suspects that it was an inside job and threatens to shut down the entire department unless they recover the drugs within 72 hours.

Mike asks one of his informants and ex-girlfriend Maxine «Max» Logan to look for people who are newly rich and therefore suspects. She gets herself and her best friend Julie Mott hired as escorts by Eddie Dominguez, a crooked former cop. The party is soon interrupted by Dominguez’s French drug kingpin boss Fouchet and his henchmen Casper, Ferguson, and Noah. Dominguez and Max are killed, while Julie manages to escape. The madam who hired Julie and Max is disposed of by Noah, who then knocks out Mike as he investigates Max’s death.

Frantically calling the police station, Julie insists on talking only to Mike, who is away. Knowing she never met Mike, captain Conrad Howard forces Marcus to impersonate Mike to talk to her. At her apartment, Marcus and Julie are attacked by some of Fouchet’s henchmen, one of whom Marcus kills. When they rendezvous with Mike, Marcus and Mike have to impersonate each other, with Mike living at the Burnett residence while Marcus resides with Julie at Mike’s apartment. The two struggle to keep it up in Julie’s presence, and she quickly begins to suspect the truth.

Looking through mugshots, Julie identifies Noah as one of the henchmen. The trio go to Club Hell, one of Noah’s known hangouts. After being spotted, Marcus knocks Casper unconscious during a bathroom fight. Julie tries to kill Fouchet but Marcus stops her. In the ensuing car chase, Mike kills Noah. The three manage to get away, but are caught on camera by a news helicopter and the report is later seen by Marcus’s family, who were told that Marcus was temporarily reassigned to Cleveland.

Mike and Marcus meet their old informant Jojo and learn about the location of the chemist who is cutting the stolen drugs. The three return to Mike’s apartment, where Marcus’ wife Theresa confronts them and confirms Julie’s suspicion they have been impersonating each other. Fouchet and his gang show up and kidnap Julie.

Mike and Marcus’ department is shut down by Internal Affairs. Despite being reassigned, Howard delays the order, giving Mike and Marcus more time to solve the case. They access Dominguez’s private police database profile and learn that the police secretary Francine is Dominguez’s former girlfriend, who was being blackmailed by Fouchet and Dominguez after they took nude photos of her, threatening to post them at her kids’ school.

Mike, Marcus, and two other detectives, Sanchez and Ruiz, head to the Miami-Opa Locka Executive Airport. After a fierce shootout, they kill the remainder of Fouchet’s henchmen, including Casper and Ferguson, and rescue Julie. They chase a fleeing Fouchet and force his car into a concrete barrier. As Fouchet tries to flee, Mike shoots Fouchet in the leg and arrests him at gunpoint. After a tense conversation with Marcus, Fouchet surreptitiously draws a gun but is shot to death by Mike before he can kill Marcus, avenging Max’s death. An exhausted Marcus leaves Julie with Mike and heads home, eager to be reunited with his wife.

Cast[edit]

Martin Lawrence as Detective Sergeant Marcus Miles Burnett
Will Smith as Detective Sergeant Michael Eugene «Mike» Lowrey
Téa Leoni as Julie Mott
Tchéky Karyo as Fouchet
Theresa Randle as Theresa Burnett
Joe Pantoliano as Captain Conrad Howard
Marg Helgenberger as Captain Alison Sinclair
Nestor Serrano as Detective Sanchez
Julio Oscar Mechoso as Detective Ruiz
Saverio Guerra as Chet
Anna Thompson as Francine
Kevin Corrigan as Elliot
Michael Imperioli as Joe «Jo-Jo»
Vic Manni as Ferguson
Frank John Hughes as Casper
Ralph Gonzales as Kuni
Marc Macaulay as Noah Trafficante
Emmanuel Xuereb as Eddie Dominguez
John Salley as Fletcher (credited as Hacker «Fletcher»)
Karen Alexander as Max Logan
Shaun Toub as Store Clerk
Kim Coates as White Carjacker
Michael ‘Bear’ Taliferro as Black Carjacker
Lisa Boyle as Girl Decoy
Ed Amatrudo as Ether Van Boss

Production[edit]

Principal photography began on June 27, 1994, at the Dade Tire company near downtown Miami, the city chosen to replace the original New York locale. Filming continued throughout the area, including South Beach’s Tides Hotel, the Mediterranean Biltmore Hotel, the Dade County Courthouse and a multimillion-dollar estate on a private island. The second floor of downtown Miami’s Alfred DuPont building was converted into a police station; a freighter on the Miami River into a drug lab. Bad Boys’ climactic scenes were filmed at the Opa-Locka Airport. Filming was quick due to the TV schedules of the stars with production wrapping on August 31. The opening sequence was written and shot during post-production.^[4] In the film’s early stages of development, Simpson and Bruckheimer initially envisioned Dana Carvey and Jon Lovitz in the roles.^[5] When the film was written for Carvey and Lovitz, the original title for Bad Boys was Bulletproof Hearts. Arsenio Hall turned down the role of Lowrey and cites^{[citation needed]} that choice as the worst mistake he has ever made. The role eventually went to Smith. Both Lawrence and Smith were starring in their own hit TV shows, Martin and The Fresh Prince of Bel-Air, when filming Bad Boys. The Fresh Prince of Bel-Air even references the film in an episode. In the season 6, episode 20, called «I Stank Horse», Nicholas «Nicky» Banks tells Will that his parents will not let him watch Bad Boys, to which Will replies, «Bad Boys, huh? What’cha gonna do?»

Improvisation[edit]

Director Bay did not like the script and often engaged Smith and Lawrence in discussions about how the dialogue and scenes could improve. He often allowed them to improvise while the cameras were rolling. He secretly told Smith to call Lawrence a bitch before the car scene. The whole «two bitches in the sea» was improvised, as was Lawrence’s comment when Leoni called him gay. The scene in the convenience store, when the clerk puts a gun to Burnett and Lowrey’s heads and yells, telling them to «Freeze, mother bitches!», is also improvised. They came up with: «No, you freeze, bitch! Now back up, put the gun down and get me a pack of Tropical Fruit Bubbalicious». «And some Skittles.» According to Bay in the DVD commentary, at the end of the film when Mike and Marcus are recuperating, Mike says «I love you, man.» Bay claims that Smith refused to say the line, causing the director and actor to argue back and forth over the line. Bay wanted Smith to say the line as he felt it summed up the friendship between the cops. After their argument had lasted for half of the day’s shoot and much of the crew was ready to pack up, a fed up Bay told Smith to do whatever he wanted, after which Smith changed his mind and agreed to say the line.

Music[edit]

Reception[edit]

Box office[edit]

Bad Boys was commercially successful, grossing $141,407,024 worldwide — $65,807,024 in North America and $75,600,000 internationally.^[6]

Critical reception[edit]

On Rotten Tomatoes, Bad Boys has an approval rating of 43% based on reviews from 67 critics, with an average rating of 5.30/10. The site’s critical consensus reads: «Bad Boys stars Will Smith and Martin Lawrence have enjoyable chemistry; unfortunately, director Michael Bay too often drowns it out with set pieces and explosions in place of an actual story.»^[7] On Metacritic, the film has a weighted average score of 41 out of 100, based on 24 critics, indicating «mixed or average reviews».^[8] Audiences polled by CinemaScore gave the film an average grade of «A» on an A+ to F scale.^[9]

Most of the criticisms focused on the fact that despite the production of the film and the ability of the stars, the script did not diverge from the generic plot of a buddy-cop genre film, instead opting for repeated use of formulaic scenes.^[10]^[11]^[12]

Roger Ebert in his video review of the film on At the Movies noted that despite the highly energetic approach of the two lead actors and the visual style of the film, their acting talents were mostly «new wine in old bottles». He illustrated that many of the elements featured in the film including both the plot and characters had been recycled from other films, particularly those from the Lethal Weapon and Beverly Hills Cop series—recurrent stock-characters, police detective clichés and over-long action scenes. In describing the archetypal cop-buddy genre action scene adhered to by the film, Ebert noted «Whenever a movie like this starts to drag, there’s always one infallible solution; have a car-chase and then blow something up real good.»^[11] Ebert gave the film 2 out of 4 stars.^[13]

Gene Siskel in his appraisal of the film said that he had lost interest in the film after its introduction due to the very formulaic approach, and repeated Roger Ebert’s criticism that the talents of the lead actors were wasted; suggesting that the production company did not spend significant time producing a script which would be suitable for their talents.^[11] Siskel gave the film 2 out of 4.^[14]

Home media[edit]

Bad Boys was released on DVD on June 27, 2000. A Blu-ray release followed on June 1, 2010.^[15] Bad Boys was released in a two movie pack that includes Bad Boys II on Ultra HD Blu-ray on September 4, 2018.^[16]

References[edit]

^ «BAD BOYS (18)». British Board of Film Classification. May 3, 1995. Archived from the original on June 5, 2019. Retrieved May 20, 2015.
^ ^a ^b «Bad Boys (1995)». Box Office Mojo. 1995. Archived from the original on July 30, 2010. Retrieved February 19, 2020.
^ «Bad Boys (1995) — Financial Information». The Numbers. Archived from the original on May 16, 2021. Retrieved May 16, 2021.
^ Young, Paul F. (July 10, 1995). «The rationale of re-shoots». Variety. p. 5.
^ Wolff, Craig (December 31, 1992). «IN THE DRESSING ROOM WITH DANA CARVEY; Every Night Live?». The New York Times. Archived from the original on December 25, 2020. Retrieved April 26, 2010.
^ «Bad Boys (1995)». Box Office Mojo. Internet Movie Database. Archived from the original on July 30, 2010. Retrieved August 12, 2010.
^ «Bad Boys (1995)». Rotten Tomatoes. Fandango Media. Archived from the original on July 31, 2010. Retrieved January 10, 2023.
^ «Bad Boys». Metacritic. CBS. Archived from the original on August 4, 2018. Retrieved February 24, 2020.
^ «Find Cinemascore». Cinemascore. Archived from the original on July 22, 2018. Retrieved January 15, 2010.
^ McCarthy, Todd (April 3, 1995). «Bad Boys review». Variety. Reed Business Information. Archived from the original on May 13, 2008. Retrieved August 12, 2010.
^ ^a ^b ^c Ebert, Roger., Siskel, Gene., 1995 Bad Boys Review [Internet Video] Available at http://bventertainment.go.com/tv/buenavista/atm/reviews.html?sec=1&subsec=1313 Buena-Vista Television
^ Berardinelli, James. «Bad Boys (1995)». ReelViews. Archived from the original on December 25, 2020. Retrieved August 12, 2010.
^ Ebert, Roger (April 7, 1995). «Bad Boys». Chicago Sun-Times. RogerEbert.com. Archived from the original on August 14, 2016. Retrieved May 16, 2021.
^ Siskel, Gene (April 7, 1995). «RIVETING ‘ROB ROY’ TRIUMPHS WHERE ‘ROBIN HOOD’ COLLAPSED». Chicago Tribune. Archived from the original on April 10, 2019. Retrieved May 16, 2021.
^ «Bad Boys DVD Release Date». DVDs Release Dates. Archived from the original on March 29, 2020. Retrieved June 12, 2018.
^ «High Def Digest | Blu-ray and Games News and Reviews in High Definition». ultrahd.highdefdigest.com. Archived from the original on June 7, 2019. Retrieved June 12, 2018.

External links[edit]

Bad Boys at IMDb
Bad Boys at the TCM Movie Database
Bad Boys at the American Film Institute Catalog
Bad Boys at Box Office Mojo

Источник

From Wikipedia, the free encyclopedia

Bad Boys
Theatrical release poster
Directed by	Michael Bay
Screenplay by	Michael Barrie Jim Mulholland Doug Richardson
Story by	George Gallo
Produced by	Don Simpson Jerry Bruckheimer
Starring	Martin Lawrence Will Smith Téa Leoni Tchéky Karyo Theresa Randle Joe Pantoliano
Cinematography	Howard Atherton
Edited by	Christian Wagner
Music by	Mark Mancina
Production companies	Columbia Pictures Don Simpson/Jerry Bruckheimer Films
Distributed by	Sony Pictures Releasing
Release date	April 7, 1995
Running time	119 minutes^[1]
Country	United States
Language	English
Budget	$19 million^[2]^[3]
Box office	$141.4 million^[2]

Plot[edit]

Cast[edit]

Martin Lawrence as Detective Sergeant Marcus Miles Burnett
Will Smith as Detective Sergeant Michael Eugene «Mike» Lowrey
Téa Leoni as Julie Mott
Tchéky Karyo as Fouchet
Theresa Randle as Theresa Burnett
Joe Pantoliano as Captain Conrad Howard
Marg Helgenberger as Captain Alison Sinclair
Nestor Serrano as Detective Sanchez
Julio Oscar Mechoso as Detective Ruiz
Saverio Guerra as Chet
Anna Thompson as Francine
Kevin Corrigan as Elliot
Michael Imperioli as Joe «Jo-Jo»
Vic Manni as Ferguson
Frank John Hughes as Casper
Ralph Gonzales as Kuni
Marc Macaulay as Noah Trafficante
Emmanuel Xuereb as Eddie Dominguez
John Salley as Fletcher (credited as Hacker «Fletcher»)
Karen Alexander as Max Logan
Shaun Toub as Store Clerk
Kim Coates as White Carjacker
Michael ‘Bear’ Taliferro as Black Carjacker
Lisa Boyle as Girl Decoy
Ed Amatrudo as Ether Van Boss

Production[edit]

Improvisation[edit]

Music[edit]

Reception[edit]

Box office[edit]

Bad Boys was commercially successful, grossing $141,407,024 worldwide — $65,807,024 in North America and $75,600,000 internationally.^[6]

Critical reception[edit]

Home media[edit]

References[edit]

^ «BAD BOYS (18)». British Board of Film Classification. May 3, 1995. Archived from the original on June 5, 2019. Retrieved May 20, 2015.
^ ^a ^b «Bad Boys (1995)». Box Office Mojo. 1995. Archived from the original on July 30, 2010. Retrieved February 19, 2020.
^ «Bad Boys (1995) — Financial Information». The Numbers. Archived from the original on May 16, 2021. Retrieved May 16, 2021.
^ Young, Paul F. (July 10, 1995). «The rationale of re-shoots». Variety. p. 5.
^ Wolff, Craig (December 31, 1992). «IN THE DRESSING ROOM WITH DANA CARVEY; Every Night Live?». The New York Times. Archived from the original on December 25, 2020. Retrieved April 26, 2010.
^ «Bad Boys (1995)». Box Office Mojo. Internet Movie Database. Archived from the original on July 30, 2010. Retrieved August 12, 2010.
^ «Bad Boys (1995)». Rotten Tomatoes. Fandango Media. Archived from the original on July 31, 2010. Retrieved January 10, 2023.
^ «Bad Boys». Metacritic. CBS. Archived from the original on August 4, 2018. Retrieved February 24, 2020.
^ «Find Cinemascore». Cinemascore. Archived from the original on July 22, 2018. Retrieved January 15, 2010.
^ McCarthy, Todd (April 3, 1995). «Bad Boys review». Variety. Reed Business Information. Archived from the original on May 13, 2008. Retrieved August 12, 2010.
^ ^a ^b ^c Ebert, Roger., Siskel, Gene., 1995 Bad Boys Review [Internet Video] Available at http://bventertainment.go.com/tv/buenavista/atm/reviews.html?sec=1&subsec=1313 Buena-Vista Television
^ Berardinelli, James. «Bad Boys (1995)». ReelViews. Archived from the original on December 25, 2020. Retrieved August 12, 2010.
^ Ebert, Roger (April 7, 1995). «Bad Boys». Chicago Sun-Times. RogerEbert.com. Archived from the original on August 14, 2016. Retrieved May 16, 2021.
^ Siskel, Gene (April 7, 1995). «RIVETING ‘ROB ROY’ TRIUMPHS WHERE ‘ROBIN HOOD’ COLLAPSED». Chicago Tribune. Archived from the original on April 10, 2019. Retrieved May 16, 2021.
^ «Bad Boys DVD Release Date». DVDs Release Dates. Archived from the original on March 29, 2020. Retrieved June 12, 2018.
^ «High Def Digest | Blu-ray and Games News and Reviews in High Definition». ultrahd.highdefdigest.com. Archived from the original on June 7, 2019. Retrieved June 12, 2018.

External links[edit]

Bad Boys at IMDb
Bad Boys at the TCM Movie Database
Bad Boys at the American Film Institute Catalog
Bad Boys at Box Office Mojo

Источник

Содержание/сюжет

У этого фильма есть предыстория — Читать тут.

Прошло восемь лет после событий первого фильма. Все еще работающие детективами отдела наркотиков Департамента полиции Майами Маркус Бернетт и Майк Лоури пытаются раскрыть дело о постоянно поступающих в город партиях экстази. Через своего информатора они узнают, что к этому причастно местное отделение ку-клус-клана. Одевшись в наряды ККК, детективы внедряются на их сходку, но сломавшаяся не вовремя радиосвязь заставляет их раскрыть себя. В перестрелке несколько клановцев убиты, несколько ранены. Майк случайно подстреливает Маркуса в зад. Вскоре прибывают другие полицейские и захватывают выживших членов Клана, которые, как выясняется, являются не распространителями, а лишь покупателями мелких партий наркотиков, для своего употребления.

Маркус задается вопросом, хочет ли он оставаться партнером Майка. Тем временем Майк находится в отношениях с сестрой Маркуса, Сидни, не говоря об этом Маркусу, подозревая ,что тот негативно к этому отнесется. Сидни, тем временем, является внедренным в наркобизнес агентом Управления по борьбе с наркотиками (о чем ни Майк ни Маркус не знают), отмывая деньги для российской бандитской группировки, которая распространяет экстази кубинского наркобарона Джонни Тапиа. Майка, ни Маркуса, является агентом Управления по борьбе с наркотиками под прикрытием , отмывая деньги для российской гангстерской группировки, которая распространяет экстаз от имени кубинского наркобарона Джонни Тапиа, неоднократно судимого, но все время выходившего сухим из воды за недостатком улик.

Перевозя деньги от русских к Тапиа, Сидни подвергается нападению злющих гаитянских гангстеров, планирующих украсть бабло. Майк и Маркус случайно попадают в эту схватку, что приводит к перестрелке и автомобильной погоне, в результате которой повреждено много частной собственности в этом районе, что приводит в ярость капитана полиции Конрада Ховарда. Маркус и Майк узнают о вовлеченности в это дело Сидни, и капитан Говард требует, чтобы они нашли главного поставщика экстази, раскрыв его схему.

Маркус и Майк выслеживают гаитянскую банду, и после схватки с ними, узнают, что Тапиа, возможно, использует местный морг в качестве прикрытия для отмывания денег. Затем пара посещает особняк Тапиа, притворившись борцами против грызунов (Тапиа не успевает вывозить деньги, так как его все время прижимает полиция, поэтому огромные кучи денег у него хранятся дома, и их едят крысы). Детективы обнаруживают палец одного их русских, которых до этого начал убивать Тапиа, недовольный условиями сделки с ними. Также Тапиа начинает ухаживать за Сидни (находящейся под прикрытием с целью сбора улик), высоко ценя то, что она спасла его деньги от гаитян.

Детективы определяют местонахождение катера, использующегося для контрабанды наркотиков, (выяснив, что клановцы все таки замешаны в контрабанде, но не в распространении), и наблюдают, как от катера отъезжает фургон из морга. Они преследуют фургон, но безуспешно. Майк и Маркус входят в морг Тапии, замаскированный под водителей скорой помощи, и узнают, что тот использует трупы для контрабанды наркотиков и денег. их почти обнаруживают, а Маркус случайно проглатывает немного экстази. Майк приказывает офицерам из засады снаружи здания врезаться в морг на машине скорой помощи, и под прикрытием суеты им удается сбежать.

В морг и особняк Тапии вламываются полицейские, наркотики и деньги перехватываются береговой охраной США . Однако во время штурма особняка, глава русских бандитов Алексей приходит к особняку, пытаясь отомстить за своих друзей. Во время перестрелки, в результате которой Алексей убит, Тапиа успевает схватить Сидни, поняв ее роль, и увозит на Кубу.

Тапиа, сидя в безопасном имении на Кубе, требует вернуть свои деньги в обмен на Сидни. Майк и Маркус с командой добровольцев из состава спецназа, сотрудников ЦРУ и агентов по борьбе с наркотиками нападают на территорию Тапиа, спасают Сидни и уничтожают здание.

Отряд сбегает, разъяренный Тапиа в погоне за ними подъезжает к американской военной базе в Гуантанамо и в погоне все вбегают на минное поле рядом с ней. Тапиа держит Майка под дулом пистолета, а солдаты с базы держат их под прицелом. Сидни взрывают одну из мин, кинув свой пистолет, как от нее требуют, убив охранника Тапии. Маркус убивает Тапиа, стреляя ему в лоб, в результате чего он падает на несколько мин, которые разрывают его тело. Майк от всей души благодарит Маркуса за то, что тот спас его, а потом Майк целует Сидни.

В Америке, они отдыхают у нового бассейна в доме Бернетта, и Маркус, наконец-то, помирится с Майком, прощая ему то, что он встречается с Сидни. Впрочем, дружелюбное отношение Маркуса заканчивается, когда Майк сообщает ему, что он и Сидни расстаются, видя как Маркус бесится.

Они спорят, потом собака разрывает бассейн и обоих детективов сносит в море. Там они уже мирятся, и возвращаются домой, напевая песню «bad boys» группы Inner Circle, хотя оба и не знают толком слов.

Источник

В четверг, 23 января 2020 года, в российском прокате вышел комедийный
полицейский боевик «Плохие парни навсегда» (Bad Boys for Life), известный также как «Плохие парни 3» (Bad Boys 3). Спешите видеть подробный разбор сюжета и объяснение финала — если вдруг
пропустили концовку, не поняли главное в истории, забыли посмотреть сцену после
титров или не заметили камео Майкла Бэя.

Что показывают в финале «Плохие парни навсегда»? И как понимать концовку
боевика?

В финале боевика «Плохие парни 3» показывают, как Майк и Маркус отправляются в
Мексику, чтобы встретиться с Изабель и Армандо — отомстить за друзей и положить
конец бойне. На помощь полицейским прилетают члены специального отряда полиции
Майами AMMO. Расформированного отряда АММО. У группы с собой куча оружия,
полученного взаймы у наркоконтроля: ведомство неофициально поможет с операцией и
получит все лавры за уничтожение Брухи себе, но в случае провала сделает вид,
что ничего не знало.

Майк отправляется на встречу с Изабель в отель Дворец Идальго. Маркус идёт по
следу, чтобы прикрыть друга, но попадает в ловушку. В результате его угрожает
убить Армандо. Между членами AMMO и наёмниками начинается шумная перестрелка. А
для эвакуации Изабель и Армандо прилетает целый вертолёт. Маркус случайно
убивает пилота и вертолёт падает прямо в холл отеля.

В самом конце показывают, как в горящем отеле остаются четверо: Армандо,
Изабель, Майк и Маркус. Во время драки Майк берёт верх над Армандо, но не
добивает его. И признаётся, что он его отец. Сын не верит и пытается выбить из
него признание в обратном. Когда Армандо спрашивает у Изабель о своём отце, она
пытается застрелить Майка. Но сын закрывает собой отца и получает пулю в
грудь.

Затем на помощь приходит Рита, бывшая глава AMMO — она убивает Изабель, та
падает в огонь, напарывается на обломки на первом этаже и сгорает. Выжившие
герои спасаются из рушащегося отеля, израненные Маркус и Майк выволакивают на
себе Армандо.

В самом-самом конце показывают, что все герои выжили. Рита становится новым
капитаном. Майк, видимо, собирается остепениться — вместе с ней — и решает
присмотреть за внуком Маркуса, пока тот с женой будет отдыхать после
пережитого.

История становления Майка Лоури. И что на самом деле значит фраза Hasta El
Fuego

До выхода боевика «Плохие парни навсегда» зрители толком ничего не знали о
прошлом Майкла Лоури. И о том, почему он одевается — по словам Маркуса — как
наркоторговец или сутенёр. И откуда в нём любовь к дорогим тачкам и вещам.

Майк рассказывает Маркусу, что во время обучения в полицейской академии
отправился работать под прикрытием в Мексику. Двадцать четыре года назад капитан
Ховард устроил его водителем к известному криминальному авторитету и
наркобарону. Всё потому, что Майк на тот момент нигде не засветился и не вызвал
бы ни у кого подозрений.

На новой работе Майк познакомился с Изабель — женой наркобарона. У них завязался
роман, молодые люди полюбили друг друга. Майк даже собирался сбежать с
возлюбленной, но в итоге сдал её полиции, потому что понял, какая она на самом
деле. Изабель оказалась кровожадной убийцей по прозвищу Ведьма — Бруха.

Майк признаётся, что именно Изабель сделала его таким, какой он есть —
легкомысленным пижоном со склонностью к насилию.

Hasta el fuego — фразочка на «ненастоящем» испанском, которую придумали Майк и
Изабель. Как она переводится? Внятного перевода у неё вроде бы нет. Но понимать
её нужно как «Вместе до самого ада» или «Сгорим вместе без остатка». В финале
создатели фильма очень буквально иллюстрируют значение фразы.

Главный сюжетный поворот: наёмник и убийца Армандо — родной сын Майка Лоури

До того, как Майк Лоури, работающий под прикрытием в картеле, сдал Изабель
властям в рамках полицейской операции, он собирался вместе с ней сбежать.
Изабель — та самая единственная женщина, которую по-настоящему любил Лоури. Они
поклялись быть вместе, но затем он её предал.

Майк не знал, что на момент ареста Изабель (она же убийца Бруха) уже месяц как
была беременной. Впоследствии она родила ребёнка в тюрьме, но так и не
призналась сыну даже спустя двадцать с лишним лет, что его отец на самом деле
полицейский. Зато Бруха решила как можно более жестоко отомстить бывшему
возлюбленному. И даже сбежала из тюрьмы, чтобы привести план мести в
исполнение.

После первой встречи с Армандо — драки на крыше дома — Майк понимает, что тот
ведёт себя как он сам. Армандо — более безумная и жестокая версия Майка,
которого и так нельзя назвать тихим и мирным.

«Плохие парни навсегда» — есть сцена после титров или нет?

В полицейском боевике «Плохие парни навсегда» есть целых две сцены после титров.
Первый дополнительный эпизод показывают после огромного логотипа с названием
фильма. Майк Лоури приходит в тюрьму строгого режима на свидание с сыном.
Армандо держат в клетке, он за прошедшее время зарос бородой. Майк спрашивает,
как у него дела, на что Армандо отвечает, что нормально. Сейчас он отдаёт долг
обществу. Большой долг обществу. Майк отвечает, что есть вариант отдать его
быстрее, хоть и частично, не полностью. Спрашивает сына, интересует ли его
предложение. На что он отвечает согласием.

Наверняка создатели фильма готовят зрителей к четвёртой части. И намекают, что
бывший преступник Армандо подпишется на какую-то рискованную миссию для полиции
Майами или вообще правительства США.

Во второй сцене после титров — откровенно шуточной — Маркус Барнетт присаживает
в самолёте, летящем из Майами в Мексику, к тому самому несчастному пассажиру. И
задаёт ключевой вопрос: нормально ли трахать Ведьму (известную преступницу
Бруху) без презерватива (презика)? На что пассажир отвечает, что, разумеется, не
нормально.

«Плохие парни навсегда» — камео Майкла Бэя

В это сложно поверить, но после всех громких разбирательств с продюсером Джерри
Брукхаймером режиссёр первых двух частей Майкл Бэй появился в третьем фильме.
Сыграл он гостя на свадьбе дочери Маркуса Барнетта. Тот самый безымянный тамада
в камео, который передаёт право произнести тост Майку Лоури, и есть легендарный
Майкл Бэй!

Пускай Бэй так и не снял боевик «Плохие парни 3», но зато он в нём появился.

Источник

Плохие парни (фильм, 1995)

Bad Boys

Они — полная противоположность друг друга.

Лучшие кореша Маркус Бернетт (семейный человек с ревнивой женой) и Майк Лоури (холостяк и плейбой) — детективы из Майами, которым поручен поиск конфискованного героина на 100 миллионов долларов, который бандюки сперли из полицейского участка. Власти считают, что украсть наркоту помогли продажные полицейские, и решают закрыть этот полицейский участок, а заодно и уволить всех, кто там работает, если наркотики не найдут в течении пяти суток.

Лоури просит свою информаторшу и бывшую подругу Максин «Макс» Логан рассказать ему, если найдутся люди, которые начали сорить деньгами (ну, а вдруг). Ту и ее лучшую подругу Джули Мотт нанимает в качестве эскорта Эдди Домингес, продажный полицейский. Его вечеринка вскоре прерывается французским боссом наркобизнеса Фуше и его бандитами Каспером, Фергюсоном и Ноем. Домингес и Макс убиты, а Джули удается сбежать.

В полицейском участке Джули настаивает на том, чтобы разговаривать только с Лоури, про которого она знает со слов подруги. Но его нет. Зная, что она никогда не встречала Лоури, капитан Конрад Ховард заставляет Бернетта прикинуться Лоури, чтобы поговорить с ней. В квартире Джули на нее нападает один из людей Фуше, а Бернетту удается его убить. Не зная, как себя поведет Джули, если вскроется обман, Бернетт и Лоури решают притворяться друг другом в присутствии Джули.

Просматривая фотографии, Джули опознает Ноа. Трое отправляются в Клуб Hell, одно из известных притонов, где может скрываться Ноа. Их замечают. Бернетт вырубает Каспера во время драки в ванной. Джули пытается убить Фуше, но Бернетт останавливает ее. За ними начинается автомобильная погоня, и в ней Лоури убивает Ноя. Троице удается сбежать, но новостной вертолет успевает заснять их всех, и это видит семья Бернетта.

Лоури и Бернетт разговаривают со своим старым информатором Джоджо и узнают, где находится химик, который фасует и разбавляет украденные наркотики. Все трое возвращаются в квартиру Лоури, а пришедшая жена Бернетта скандалит с ними, и случайно разоблачает их перед Джули. Врывается банда Фуше и похищает Джули.

Дело Лоури и Бернетта закрыто властями. Несмотря на то, что им дали другую работу, Говард придерживает ее, давая Лоури и Бернетту еще немного времени для распутывания дела. Они получают доступ к личной базе данных полицейских, и, изучив личное дело Домингеса узнают, что пресс-атташе полиции Франсин — бывшая девушка Домингеса.

Бернетт, Лоури и два других детектива из Майами отправляются в аэропорт Майами-Опа Лока. После горячей перестрелки они убивают оставшихся приспешников Фуше, включая Каспера и Фергюсона, и спасают Джулию. Они преследуют уезжающего Фуше и заставляют того врезаться в бетонное ограждение. Когда Фуше пытается сбежать, Лоури стреляет Фуше в ногу и арестовывает его. После напряженного разговора, когда Лоури кое как сдерживает себя, чтоб не застрелить убившему Макс Фуше, а потом поворачивается к нему спиной, Фуше достает спрятанный пистолет. Но Лоури успевает развернуться и расстрелять его, перед тем, как тот успевает выстрелить, таким образом отомстив за Макс. Вымотанный Бернетт оставляет Джули с Лоури и отправляется домой, желая помириться со своей женой.

У этого фильма есть продолжение — Читать тут

История Создания ПЛОХИЕ ПАРНИ Часть 1 (1995) ОБЗОР Сценарий Актеры Первый фильм Майкла Бэя

История Создания ПЛОХИЕ ПАРНИ Часть 2 (1995) ОБЗОР, Как снимали, Отсылки, Тачки фильма

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Они — полная противоположность друг друга. Один из них — примерный семьянин и не имеет состояния, другой богат и пользуется всеми благами холостяцкой жизни. Помимо дружбы их объединяет работа в полиции.Их новое задание — поймать жестокого преступника, укравшего наркотики с секретного склада, а также спасти девушку, которая случайно оказалась на его пути. Но для этого друзьям придется поменяться местами…

Бюджет: 19 000 000 $

Кассовые сборы: 141 407 024 $

Длительность: 1 ч 58 мин

Производство: США

Премьера: 7 апреля 1995

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Роль Майка Лоури была предназначена для Арсенио Холла, пока Майкл Бэй не поймал эпизод «Свежего принца Бел-Эйр» (1990) и вместо этого хотел Уилла Смита. Холл отказался и назвал этот выбор самой худшей ошибкой, которую он когда-либо совершал.

Режиссер Майкл Бэй не любил сценарий и часто вовлекал Уилла Смита и Мартина Лоуренса в дискуссии о том, как улучшить диалог и сцены. Он часто позволял им импровизировать, пока камера катилась. Он тайно сказал Уиллу, чтобы он назвал Лоуренса сукой перед автомобильной сценой. Целые «две суки в море» были импровизированы, как и комментарий Мартина, когда Теа Леони назвал его геем.

В начале фильма Маркус (Мартин Лоуренс) комментирует, что он не получит еду от Денни, потому что ему «не нравится, как с нами обращаются». В 90-х годах Денни урегулировал несколько судебных процессов, в которых обвинялся персонал в расизме.

Эти два отведения были первоначально предназначены для Эдди Мерфи и Уэсли Снайпса.

По словам Майкла Бэя из комментария на DVD, он дрался с Уиллом Смитом за финал. За три дня до съемок финала Уилл согласился, что скажет «Я люблю тебя» Мартину Лоуренсу. В тот день, когда они собирались снимать финал, Уилл передумал и не хотел этого говорить. Майкл Бэй более двух часов боролся с Уиллом за то, почему он должен это говорить. К концу боя, в полном разочаровании, Майкл сказал Уиллу, что ему уже все равно, потому что у него было только около пятнадцати минут, чтобы снять финал к этому времени, или у него не было финала (он не был предоставлены дополнительные дни на момент съемок). Когда сцена была снята, Уилл наконец сказал «Я люблю тебя» Мартину. Этот выстрел появляется в окончательном варианте.

Производство фильма было чрезвычайно изнурительным для Майкла Бэя из-за проблем со сценарием (Бэй позже назвал бы сценарий «кусочком дерьма») и бюджетных ограничений, которые часто означали, что Бэй получит всего один день для съемок эпизодов, что заняло бы четыре дня работы над более щедро финансируемых проектов. Бэй пожертвовал частью своей зарплаты, поэтому ключевая последовательность во время кульминации фильма не была устранена.

Опыт Дона Симпсона и Джерри Брукхаймера в фильме «Беверли-Хиллз» (1984), где автомобиль, предназначенный для Сильвестра Сталлоне, стал блокбастером с Эдди Мерфи в главной роли, вдохновил их на возобновление проекта с Уиллом Смитом и Мартином Лоуренсом в главных ролях. Колумбия уже была заинтересована в создании боевика со Смитом. Симпсон и Брукхаймер получили студию, чтобы одобрить кастинг Лоуренса.

Источник

Сценарий фильма плохие парни

СКАЧАТЬ

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Plot[edit]

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Box office[edit]

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Содержание/сюжет

Что показывают в финале «Плохие парни навсегда»? И как понимать концовку
боевика?

История становления Майка Лоури. И что на самом деле значит фраза Hasta El
Fuego

Главный сюжетный поворот: наёмник и убийца Армандо — родной сын Майка Лоури

«Плохие парни навсегда» — есть сцена после титров или нет?

«Плохие парни навсегда» — камео Майкла Бэя

В главных ролях

Кратко

Кадры и изображения

Факты

СКАЧАТЬ

Plot[edit]

Cast[edit]

Production[edit]

Improvisation[edit]

Music[edit]

Reception[edit]

Box office[edit]

Critical reception[edit]

Home media[edit]

See also[edit]

References[edit]

External links[edit]

Plot[edit]

Cast[edit]

Production[edit]

Improvisation[edit]

Music[edit]

Reception[edit]

Box office[edit]

Critical reception[edit]

Home media[edit]

See also[edit]

References[edit]

External links[edit]

Содержание/сюжет

Что показывают в финале «Плохие парни навсегда»? И как понимать концовку боевика?

История становления Майка Лоури. И что на самом деле значит фраза Hasta El Fuego

Главный сюжетный поворот: наёмник и убийца Армандо — родной сын Майка Лоури

«Плохие парни навсегда» — есть сцена после титров или нет?

«Плохие парни навсегда» — камео Майкла Бэя

В главных ролях

Кратко

Кадры и изображения

Факты

Что показывают в финале «Плохие парни навсегда»? И как понимать концовку
боевика?

История становления Майка Лоури. И что на самом деле значит фраза Hasta El
Fuego