Bad Company Page #3

Synopsis: When a CIA agent is killed during a nuclear arms purchase, his partner Oakes, recruits his twin brother, Jake Hayes. Jake had no idea he had a twin brother, let alone that he worked for the CIA. Jake, a.k.a. Michael Turner, has nine days to fill his brother's place. However, the enemy terrorists learn of his secret identity and kidnap his girlfriend/fiancee. He has to rescue them and save New York city from an imminent nuclear terrorist act.
Director(s): Joel Schumacher
Production: Touchstone Pictures
 
IMDB:
5.6
Metacritic:
37
Rotten Tomatoes:
10%
PG-13
Year:
2002
116 min
$30,128,152
Website
677 Views


- What's wrong with you?

- Good morning.

Today we will be covering

basic operations protocol...

for the acquisition of foreign assets,

a procedure we like to call

the 3 I's--

identifying the target,

initiating the contact...

and infiltrating the network.

- Now you do it like him.

- Man, this is bugging me out.

I feel like Michael Jackson

looking at old album covers.

I mean, look at this guy.

He looks like me, but it's not me.

- Yeah.

- So what did he like to do?

What kind of sports was he into?

What kind of music did he listen to?

- He liked music. Jazz and Classical.

- Classical. Like Run DMC?

- He didn't like rap.

- Come on, man.

What 29-year-old brother don't

like a little bit of rap?

- He didn't listen to rap.

- What kind of sports was he into?

- Skiing.

- Okay, so you got skiing,

the navy, no rap.

We'd have had a lot in common.

Sir.

What time?

Okay. All right. Thanks.

So what's up with you and Swanson?

Come on, man.

I see there's something going on there.

Y'all got a little something going on.

Come on, now. Look at you.

You're blushing.

Do you mind if I say something to you,

Mr. Hayes?

My friends, Officer Seale,

Officer Swanson,

they have faith in you.

I don't. And that creates a problem,

because you're in so deep with us now,

we can never let you go.

So you'd better learn this stuff,

stone cold, by 0500 hours

tomorrow morning.

- Or what?

- I'll kill you.

Hey, could we start

a few hours later tomorrow?

- Get dressed.

- It's 4:
59!

Little troubles that rock

on every block

Late for school, late for work

but ahead of these cops

My credit is shot

In debt in the box

Swirl. Checking for sediment.

Sniff.

And taste.

- Morning, Mr. Hayes. 5:00 a. m.

- No, 5:
01.

Pope. Kevin Pope.

Look at this suit!

Man, I've got initials on my cuffs.

Normally the only thing I've

had on my cuffs is steak sauce.

- They say MT. What's that for?

- Michael Turner.

-But I thought I was Kevin Pope.

-Kevin Pope is Michael Turner.

Michael Turner is

Kevin Pope's cover identity.

He's a very successful,

very knowledgeable,

very sophisticated international

dealer in fine antiquities.

Well, if I'm Jake Hayes playing

Kevin Pope playing Michael Turner,

then I should get 2 checks.

Cheers. This is a very

rare, expensive cognac.

What do you think?

Dry, but never precocious.

I love your shirt. Egyptian broadcloth?

3 days. Pretty impressive.

- Yeah. He's bright.

- I think he can do it.

- He's got my vote.

- I said he was bright.

I didn't say he was capable

of saving the world.

- Let's run a real test.

- Like what?

Send him up to New York,

put him in Kevin's apartment,

let the neighbors, the doorman,

everybody get a look at him,

- see if they buy him as Turner.

- It might even serve a double purpose.

Whoever tried to kill Kevin as

Michael Turner

probably doesn't know he's dead.

- They might be looking for him.

- So we dangle him,

use him as bait, keep him in the dark.

- He'll be protected.

- What do we tell him?

Tell him you're giving him a

chance to practice being Kevin.

That's all you need to tell him.

You're the boss.

Now, see the van in front of us?

The one behind us?

Those are our guys.

Here's my cellphone number.

Use it if you get into any kind of trouble.

- What kind of trouble?

- Any kind.

Shark attack? Call you.

All right.

Could you pop the trunk?

Take this. Get yourself some shoes.

Little punk.

- Mr. Turner. Welcome back, sir.

- Thanks, Kent.

- How Was Europe?

- Like another country.

You could put this on MTV Cribs.

Man, this is dope!

So if I paid taxes,

this is where the money would go?

You could have

a Puffy party in here.

- What's that music?

- It's this hip-hop stuff.

It's terrible.

Jake, it's your downstairs neighbor,

Mrs. Patterson.

Don't forget the radio.

Hi, Michael!

Welcome back.

- Vera, how are you?

- Fine, fine, thank you.

- Hi, Annabella. - We just came in.

The doorman said you were back.

- Annabella missed you.

- You're far too kind.

I've been waiting desperately

for you to come back.

Why?

I bought a little treasure. Come on

down and tell me if I got a good buy.

- Okay.

- Hold your baby.

- Yes. My baby.

- How was your trip?

This is gonna be a disaster.

Yoo-hoo! Go see your nanny, baby.

What do you think?

Is it a good piece?

- It's exquisite.

- Do you think?

Go ahead. Pick it up. Feel it.

See how delicate it is.

Pick it up. Right, yes. Just

grab it and pick it up.

Michael, that's what we keep

the doggie treats in.

Of course. I knew that.

I'm just getting it out of the way

so I could see the--

- The vase.

- The vase. Of course. The vase. Yes.

May I ask, how much

did you pay for this?

- 150,000. - Good Lord!

What you gonna put in it, cocaine?

He fooled the doorman, he fooled the neighbor

and he fooled the neighbor's dog.

- What more do you want?

- Oakes,

we need to know

who's after that bomb.

You're willing to sacrifice him

to find out?

Don't be dramatic.

He's got plenty of protection.

I'll tell you when to pull him.

Hope ya'll are not watching this.

I don't have to watch this,

do I, sir?

- No. Code red.

- Code red.

Code red.

Code red.

- Parish, McCain, cover the exits.

- Help! Help! Help!

- Sir, he's headed for the roof.

- We need him alive. - Yes, sir.

Drop the knife.

Hey, Elvis.

If you drop the knife and step down,

no one is gonna hurt you.

So, who's got Jake?

Well, these last 10 minutes

will be used as a teaching aide...

- on how an operation can get totally--

- Screwed up, sir?

- Thank you.

- We'll find him, sir.

Yeah. Where are you?

At the corner of Eat Sh*t

and F*** You!

I'm not gonna let you trace me.

Bye. I'll call you back.

I'm stuck in traffic.

I asked you one simple thing--

Gimme that!

Okay, run fingerprints, DNA, anything we

can get on the guy who jumped off the roof.

He looks Afghani, sir.

Don't assume anything.

Just find Jake. Jake?

Kevin was murdered, like they

were gonna murder me, right?

- Let's meet someplace--

- No more bullshit!

We lost him because we lied to him.

No, you lost him because you lost him.

We treated him like an idiot.

He had a right to know

what we were doing with him.

We're wasting time.

Find him and bring him back...

and spare me your conscience.

Spare my conscience.

- Take it easy.

- Thanks a lot.

Yeah.

Hello? Hello. Hey, Pam.

This is Jake. Can I talk to Julie?

- She don't want to talk to you.

- Who's on the phone?

Hey, Pam, I need to talk to Julie.

Please. Please. This is serious.

- Is it Jake? Wait. Let me talk to him.

- She is moving on.

- Give me the phone.

- We don't need no more trouble, Jake.

- Okay? And you ain't nothing

but trouble. - Pam...

2 suits came around here today

looking for you.

Give me the phone.

Hey, hey. Sh*t.

Your phone's tapped.

Okay, if Julie's there,

tell her I love her,

and Oakes, if you're listening,

kiss my ass.

- You get a trace?

- No.

He hung up.

Rate this script:0.0 / 0 votes

Jason Richman

All Jason Richman scripts | Jason Richman Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Bad Company" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/bad_company_3440>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what is a "montage"?
    A The opening scene of a screenplay
    B A musical sequence in a film
    C A single long scene with no cuts
    D A series of short scenes that show the passage of time