"LETHAL WEAPON" (1987)

Full of smoke. The clink of glasses, the rumble of drunken conversation.

At a corner table sits what appears to be a very lonely man.

In front of him is a bottle of Wild Turkey bourbon and .a glass. Both are empty. He is thirty-five, give or take. Scraggly growth of beard. Pouches under the eyes. The eyes? Totally black. Unreadable. Meet MARTIN RIGGS. You wouldn't know by looking at him that he's one of the deadliest men alive. In fact, he looks a little like a bag person.

O

CONTINUED: | 2

He puffs on a cigarette. Glances up as an old black man in a wheelchair approaches the table. Meet JAKE, the bartender. Riggs looks like shit. JAKE You okay, Sarge?

- JAKE Whatever you say.

_ RIGGS Thanks, Jake.

Riggs stands and heads for the restroom. As he does, however -- TWO PUNKS at the bar notice him. Nod to each other and begin making their way across the floor.

Riggs comes out of the restroom into a dim corridor lit by a single light bulb. The NOISE from the bar is a background throb. A hand taps Riggs on the shoulder. He turns. It

is the two Punks from the bar. Riggs sighs. This is not what he needs.

PUNK #1

Hey, brother. RIGGS

Hi. Something I can help you with? PUNK #1

Yeah, brother, you got any money? RIGGS

(frowns ) Money? Yeah. Thousands of dollars.

: (beat ) Oh. You mean on me. Do I have money right now.

PUNK #1

Brother, you one smart motherfucker. RIGGS

Why, thank you. (MORE )

3 CONTINUED: | 3 C) | RIGGS (CONT'D)

(takes out his

wallet) Two hundred forty dollars. Some change. Why do you ask?

PUNK #1 Give it to me.

PUNK #1 "Cause you don't wanna piss off my friend here.

The other punk snaps open a switchblade. And then, incred- ibly, Riggs begins to laugh.

RIGGS

No, no, no. Bad idea. (he sighs, runs a hand through

I his hair) ; 4 Look, have you talked to Jake? Ww PUNK #1 What? RIGGS

Tell you what. Go talk to Jake. He'll tell you not to fuck with me. I'll wait here. Then, if you still want to fuck with me, come back and we'll do it. Okay? Good plan?

PUNK #1 (pause, then) Stick him, Calvin.

Riggs sighs, shakes his head. Stands calmly. A moment, then -- Calvin comes charging in, low and hard. One minute Riggs is standing. The next his foot is flashing out like a steel sledge. There is a sick-sounding CRACK. Calvin hits the deck. Riggs doesn't miss a beat. He takes off his belt, begins to coil it around his fist.

— RIGGS Okay. We through...? (beat)

C) Stop now, or...?

CONTINUED: (2) 3

PUNK #1 Brother, you dead.

Punk #1 charges. Riggs makes mincemeat of him. The BELT flashes out -- CRACKS like a whip. Shatters the Punk's nose. Screaming, the Punk pulls out a gun -- Riggs launches a perfect kung fu kick. An impact they can feel

in Peoria.

The Punk literally flies out of the hallway into the bar. Lands with a crash, splintering a table. Jake is polishing

‘glasses. He shakes his head and mutters. A moment, then --

Riggs re-enters. Belches. The bar is dead silent. Riggs looks at the unconscious Punk and says:

He heads for the door. A HUGE MAN steps in front of him and says: ,

‘And Riggs flicks open his wallet to display a shiny silver

badge.

«RIGGS I'm a cop. Fuck off.

He slaps a hundred dollar bill on the bar in front of Jake. Jake hands him a bottle of Wild Turkey.

| JAKE Sarge, you gotta stop comin' round here.

RIGGS ,

You kidding? This is better than the gym.

He exits.

CuT TO:

Palm trees cast shadows on the lawn. Toys, lots of them, littered across the lawn. A Big Wheel, a G.I. Joe figure. Christmas lights are strung across the eaves.

A real gun, a .38 Police Special, dangling in its hol- ster from the back of a chair... Next to it -- A real badge, gleaming in the light. It identifies its owner as LAPD Robbery/Homicide.

ANOTHER ANGLE . 7

A. birthday cake comes INTO FRAME. A set of matronly hands places it directly in front of --

DETECTIVE ROGER MURTAUGH | | 8

Seated in the bathtub. He groans, throws a towel over himself, and mutters in mock indignation: Roger is tough: An old-fashioned fighter, wears his past like a scar. Piercing eyes; cynical. He is surrounded by his family; wife and three children, names and ages as follows: TRISH: Roughly thirty-eight. She used to be a stunner. -NICK: Ten years old. Precocious. CARRIE:

Age seven. Eyes like saucers. Adorable. RIANNE: Seventeen. Takes your breath away. Heartbreaker stuff, folks. The cake is a real beauty.

- RIANNE Go for it, Dad.

He blows out the candles. Applause. His gaze lingers on -- the cake. Or rather, the message scrawled atop it in icing:

WELCOME TO THE BIG 50

The presents arrive.

LETHAL WEAPON - Rev. 7/28/86 - 7.

The scorched landscape stretches out beneath a lattice- work of high-tension power lines. Only scrub grass grows here. Rusted railroad tracks wander into the dis- tance, and nestled beside them, like the last stop be- fore death -- sits a lonely trailer home. Battered TV

‘antenna. <A dirt yard which houses a beat-up pickup

truck. Dead garden sprouting weeds. The ground begins to tremble... like an earthquake, RATTLING the POWER POLES, as, without warning -- An express TRAIN BLASTS BY CAMERA and streaks past the trailer at seventy miles an hour.

Now we are inside, the RUMBLING FAINTER... And we are looking at a tired, chiseled face. Etched with line and shadow. Eyes closed, as the shadows from the speeding

train strobe across DETECTIVE SERGEANT MARTIN RIGGS.

Morning is not a good time for Riggs. The CLOCK RADIO suddenly BLARES to life: "Silver Belllls... It's Christmas Tiiime in the City..." Riggs snaps awake . instantly. Alert. Tense. Face bathed in sweat.

ANOTHER ANGLE | | 11

He is not alone. In the doorway sits a thoroughly loveable black Labrador. Sitting stock still. Staring at Riggs, watching him sleep. Tail going thump-thump- thump on the carpet.

Riggs sits up. Stares at the dog. RIGGS | Sam, today is the first day.. of the rest of my life.

He lights a cigarette. Inhales. Coughs and .hacks.

‘The TRAIN THROBS by outside, rattling his skull.

And it is a typical morning for Detective Roger Murtaugh. Chaos. The TELEVISION BLARES. Young Carrie Murtaugh wails like a banshee. Her brother Nick tells her to shut up. Trish Murtaugh is burning eggs in the kitchen. Roger Murtaugh enters then, fixing his tie. The follow- ing dialogue is fast and furious, tossed over the shoul- der as Murtauen scurries to and fro, getting dressed:

She looks.

TRISH

Thanks. I love you, too.

Carrie is

still shrieking. Tears stream down her face.

_ MURTAUGH Hey, kid, turn off the waterworks, okay? , CARRIE

(points to Nick) Daddy, he changed the channel!

‘That's illegal.

-ambulance. This 'Kojak'?

NICK | "Starsky and Hutch.'

|

CONTINUED: (2) 12

He dabs at his tie. Carrie screams. In the kitchen Trish drops the eggs, swears. The PHONE RINGS. Carrie

screams.

-He grabs a copy of Newsweek and hands it to her.

He moves away.

. .: TRISH “aney: re bright children. (hangs up the © ‘telephone ) Honey, you know a man named Dick Lloyd? Don't step in the egg.

Lloyd.. Cheat) Jesus, Dick Lloyd. What's he want?

. (CONTINUED)

LETHAL WEAPON - Rev. 7/31/86 10. CONTINUED: (3) LZ

. MURTAUGH Yeah. Vietnam buddy.

He exits the kitchen, crosses the entrance hall. Stops, | noticing Rickles the cat, who is happily munching on the

-remains of Roger's birthday cake.

MURTAUGH

He swats it aside. Pauses, his gaze lingering on the silent message which gnaws at /his guts.

THE BIG 50...

He comes out the front door. Flicks off the Christmas lights, crosses to the car. Looks up, and sees -- his oldest daughter Rianne. Jogging past. She wears an adorable pair of dolphin shorts. Walkman headphones. She waves. .

ll.

CONTINUED: (4) 12

‘He waves.

CUT TQ:

SERIES OF SHOTS - RIGGS GETTING DRESSED 13

Riggs enters the living room, naked. Scars on his back,

the kind you get from knives. Runs a hand through limp hair. Turns on.the lamp. As he does -- the TELEVISION also springs to life; hooked to the same circuit. Pops

-three aspirin:from a bottle. Chews them.

Opens a bag of peanuts, throws it to the big Lab, who gobbles them down.

Eats. a sandwich, standing in the middle of his apartment. Looking at the floor. What a lonely fucking guy...

Straps on his gun. .9 millimeter Beretta, if it matters. Throws on a jacket. Downs a shot of whiskey. Pauses, looking at a photograph on the wall. Riggs, much younger, along with a pretty and vivacious woman in a wedding gown: his wife. Stares at the photograph. His fingers twirl the whiskey glass with completely unconscious skill. — Tense. Tense... twirling the glass... RICHARD DAWSON DRONES from the TV (our survey says -- !). Riggs slings the shotglass. Dead center, SHATTERING the TV SCREEN.

Targets: Human silhouettes with kill zones numbered.

‘Murtaugh enters. Sheds his coat, unholsters the .38.

Steps to the red line. Shifts. Stretches. Cracks his neck. This is a ritual for him. He stops to examine his right hand, holding it steady before his eyes. Except

‘there is a slight tremble. Tiny, but it's there. He

frowns. Braces himself: Cross-draws with lightning swiftness. -- BAM! -- The sound is DEAFENING in the closed room. A neat round hole appears in the target. Perfect shot: a neat third eye. Murtaugh smiles. Holsters his gun. Puts on his coat -- and sings softly to himself:

eet

Sergeant Martin Riggs is driving. He looks like he hasn't slept. He certainly hasn't shaved. The DISPATCH RADIO SQUAWKS. He turns down the MUSIC from the car radio and hears:

Riggs hits the gas pedal and PEELS OUT.

- EXT.. CENTURY CITY PARKING LOT - MORNING . 16:

The sky threatens rain. Cars buzz by as the city awakens.

A section of the parking lot is cordoned off by yellow streamers which read: POLICE LINE - DO NOT CROSS, and as we watch, a black and white patrol car pulls up, admitting two beat COPS and a young hooker. Her name is DIXIE, and she is not happy.

COP #1 No.

DIXIE

Aw, cut me a break. I told you already: she came out on the. balcony --~

COP #1 (points) That balcony... ?

COP #1 Not ‘til you talk to the Sarge.

(CONTINUED )

The sarge drives up and gets out. A BEAT COP goes by.

He crosses to the two Cops and Dixie.

COP #2 Hey, Sarge. | _MURTAUGH "Morning, Phil. Get some rain, looks like. (beat ) Hey, Dixie. Nice threads. “DIXIE Hey, Murtaugh. Tell these bozos to lay off. MURTAUGH

You. Bozos. Lay off.

COP #1 Had a jumper last night, Sarge. Dixie here was walking by, saw the whole thing.

Thanks, Rog. I'm beat, you know how it is.

She exits. Cop #2 escorts Murtaugh across the parking

lot.

LETHAL WEAPON - Rev. 7/31/86 a 14.

They stop

COP #2 Nice wholesome girl. She got a new job, you know.

COP #2 County ceiling inspector. (beat) So. Fifty years old, huh?

next to the Porsche. Murtaugh grimaces.

COP #2 Name is Amanda Lloyd, age twenty- two, prostitute, one arrest, no convictions. Born Tennessee,

parents -- MURTAUGH What was the name? COP #2 Lloyd. Amanda Lloyd. You know

her...?

Murtaugh looks stunned. He speaks very slowly:

| So look.

OMITTED ©

Jesus.

COP #2

. (an awkward pause) Vehicle is registered to her. She landed right on top of her own car.

a MURTAUGH Find out who bought it for her. Her sugar daddy.

COP. #2 Take some looking into.

MURTAUGH

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LETHAL WEAPON - Rev. 7/31/86 L5.

Murtaugh stares at the photograph we saw earlier. The two soldiers. One, we can assume, is Dick Lloyd. The other is Murtaugh. Younger, trimmer. He speaks into the phone.

Two black-and-white police cars. Flashers spinning.

Cops crouched behind the vehicles. On the beach a crowd of children cower ‘behind the play-

. ground equipment. This is serious, folks.

TENEMENT - ACROSS STREET oS 21

One open window.

Riggs drives up. Gets out of his pickup. He wears a flight jacket, pegged jeans, and an L.A. Dodgers' base- ball cap.

Approaches three COPS.

RIGGS | ‘Gotta keep the fan club happy.

(CONTINUED) |

21. CONTINUED: 21

never calis. (beat ) What do we have here?

Sure did. Guy's a nightmare. yO Wearing a gas mask. Steel siding

im -on the walls. We're talking Fort Knox, I'll bet he planned this a year ago.

RIGGS

You using SWAT team?

He turns to go. As he does, a body goes by, covered with a raincoat. Riggs hears one of the cops mutter under his breath --

-- And stops dead. Turns, his eyes suddenly ice-cold. RIGGS Nine. oo

CO Yes, sir.

a, Riggs nods.

Looks to the window.

Looks down.

Walks to the edge of the police line, and sees --

22 RIGGS' POV 22

Children, cowering. More terrified than anyone deserves to be, ever.

23 BACK TO SCENE 23 He clears his throat.

The Other Cop. approaches.

Riggs does not reply. Instead, he asks:

As he says this, he throws away his cigarette.

Rolls up his sleeves. We are reminded of a technician.

Riggs loosens his holster.

CO | RIGGS — You see a scope?

“(CONTINUED )

CONTINUED: 23 OTHER COP Couldn't tell. But I don't think it was scoped. What are you -- ? Riggs suddenly walks away. Calmly. Keeps walking, past the cops... past the police cars... and right, smack-dab into the middle of the beach... into

the line of fire.

The other cops go nuts. Waving their arms, shouting, get the hell out of there...

Riggs walks.

And we're talking serious here, because the sniper appears at the window and throws off a THREE - SHOT BURST which kicks up a cloud of sand at Riggs’ feet... ! Ducks back inside.

Riggs walks. Doesn't even flinch.

Stops in the exact center of the beach. He is alone on this one, boys and girls...

Clears his throat. Calls up to the window:

OTHER COPS | 24 The expression "shitting bricks" springs to mind.

RIGGS ; 25 Still standing there. Tries again.

His eyes are steel.

A pause: Riggs slowly pops a cigarette in his mouth. Gun held loosely at his side.

Clicks his cigarette lighter, one eye glued to the window...

LETHAL WEAPON - Rev. 7/28/86 19. CONTINUED: oe 25

It happens:

The sniper appears again -- and unleashes THREE- SHOT BURSTS from a SEMI-AUTOMATIC RIFLE.

the STUTTERING. CHATTER of the GUN is "DEAFENING...

And a storm of sand positively erupts around Riggs, and someone better remind this guy he's supposed to be scared, because he's a goddamn rock, he simply raises

his BERETTA and starts FIRING, it looks like an extension of his arm, belching flame.

For your information, gentle reader: The Beretta Belle -9 millimeter handgun offers fifteen bullets in its mag- azine, and one in its chamber. |

For you math majors, that's sixteen.

Riggs ‘EMPTIES ALL ‘OF THEM, SHOT after blazing SHOT, long — after the sniper has been blown fully and completely away.

Stands there in the middle of ‘the sand, cigarette dangling from his lips..

Arm held rock steady, FIRING SHOT ateer SHOT, on some

of them he isn't even looking, and when the coroner fi- nally examines the sniper's body he will discover a total of nine bullet wounds, all of them fatal.

BAM. BAM. BAM. BAM. BAM. BAM. BAM. Click.

Riggs dumps the empty magazine.

Snaps in a new one.

Stuffs the gun in his waistband.

Tosses away his cigarette, and walks back across the sand toward his car.

Walks past: the ‘cops.

Walks right through the ranks of the newly- arrived SWAT team.

All of them stare, incredulous.

And a BEAT COP spits and says: BEAT COP Crazy son of a bitch. Fucking disgrace to cops.

Riggs gets in his car and drives away without a word.

LETHAL WEAPON - Rev. 7/28/86 20.

C) Police have seldom looked this busy. Yes, there are

RINGING PHONES. Yes, there are CLATTERING TYPEWRITERS. Yes, it looks like a circus. And here comes Captain of Detectives ED MURPHY, moving like an after-breakfast juggernaut. Behind him, a young woman rushes to keep up. The POLICE PSYCHOLOGIST, no less.

| ‘PSYCHOLOGIST I want Martin Riggs pulled from duty. | MURPHY Um... no. . . PSYCHOLOGIST

No. No??? Captain, he walked into the line of fire.

death wish. Murphy shoots her an incredulous Look. PSYCHOLOGIST

You. can quote me. It happens to be my professional opinion.

PSYCHOLOGIST

Captain...!?

: E

t

i

| A i i i mummemes mcm ms wanes mee wectames

Brace

pension.

MURPHY

Yeah. I'm sure you're aware the department offers a disability stress pension --

everybody, only cops who seem to suffer from --

MURPHY

Give the lady a cigar.

around,

psychotic.

‘ oN

LETHAL WEAPON - Rev. 7/28/86 22, CONTINUED: (2) oe 26

himself... Well, then we'll know ' I was wrong. ~

_ EXT. SIMI VALLEY - NIGHT — 27

Rain sweeps in off the desert. Cold. Drenching. Riggs walks slowly toward his trailer home, head down. The RAIN BEATS on him. He doesn't notice. Under his arm he

carries a large cardboard box.

Riggs enters, soaking wet. Switches on the lamp. Depressing. Jake appears, tail a-thump. Tongue wagging doggishly. Riggs reaches atop the refrigerator, grabs

a bag of peanuts.

' Opens it, tosses it to the dog.

RIGGS | | | Sam, every day... in every way... * I'm getting better and better.

Opens the box and removes its contents. Brand new color TELEVISION. Plugs it in. Switches it ON. Sits down with a bottle of whiskey. Drinks. On the screen, the Grinch steals Christmas from the residents of Whoville.

ANOTHER ANGLE 29

Riggs opens a drawer beside him, and takes out a bottle of sleeping pills. Picks it up. As he does -- the sound of the TELEVISION FADES OUT -- silence, dead silence...

As Riggs rolls the bottle in his fingers. Slowly, thoughtfully, unscrews the cap... dumps them on the table. Runs his fingers through them. CLICK... CLICK... Stares. Mesmerized. RAIN BEATS on the window.

N

LETHAL WEAPON - Rev. 7/31/86 23.

The RAIN CONTINUES to hammer the lonely little pit which Riggs calls home.

CUT To: L.A.P.D. - MORNING A zoo. A sign reads METRO ROBBERY/HOMICIDE.

Roger Murtaugh sits at his desk, lost in thought. Behind him, McCASKEY, Class Three Detective. He talks to Murtaugh:

McCASKEY

See, you're behind the times,

Sarge. Guys in the Eighties

aren't tough. They’re sensitive ‘people. They show emotions around ' women and shit like that.

(beat) . I think I'm an Eighties man.

. MURTAUGH How you figure?

McCASKEY Last night: I cried in bed, so how's that?

McCASKEY No, I was alone, why the fuck you think I was crying?

Another detective enters. Rail-thin, nose like a beak. His name is BURKE.

Behind him in the door frame we see a fat cop pass by down the hall, walking backwards; a beat, and then he is followed by four more cops singing the world's shittiest rendition of "It Came Upon a Midnight Clear." It sounds like pigs mating.

Burke approaches Murtaugh:

BURKE — Got some news on the Lloyd case, Rog. ,

+ HF +

%

LETHAL WEAPON - Rev. 7/31/86 == 23A. 31 CONTINUED: (Al)

C) MURTAUGH ; That was quick.

Neca

ANOTHER ANGLE

. ACROSS the room, a detective takes off his gun and

slings the holster across his chair. As he EXITS FRAME ~- PAN to .reveal: Martin Riggs as he enters the squad room. -Shuffles from foot to foot, looking lost. Lights a smoke.

ACROSS ROOM —

Murtaugh slings on a jacket. Turns to go. Notices Riggs.

MURTAUGH'S POV

Riggs resembles a bag person. Unshaven, limp dirty hair, grimy leather jacket.

BACK TO SCENE

He frowns, says:

(CONTINUED )

LETHAL WEAPON - Rev. 7/31/86 25.

C> MURTAUGH McCaskey, if my wife calls, tell her late dinner. BURKE Ho, Rog. I'm not through yet. I'm supposed to tell you two more . things. MURTAUGH Shoot. He is still looking at Riggs, who is slowly wandering from desk to desk, smoking -- Stopping near the desk with the holstered gun. | BURKE First, condition of the sheets and mattress indicate someone was in bed with Amanda Lloyd just before she died. That's A. MURTAUGH What's B? a _ BURKE 'B is, I'm supposed to tell you

you're breaking in a new partner on this.

‘Now Murtaugh is eyeballing Riggs. Cautious.

At which point, across the room, Riggs removes the hol- stered gun and hefts it, curiously. Suddenly all hell breaks loose:

oe He bolts like a cheetah.

ww,

LETHAL WEAPON - Rev. 7/31/86 25A. CONTINUED: (14) 35

Cops dive for cover, a secretary shrieks, and Murtaugh goes plowing through the squad room like an express train, blowing people out of the way -- Cops grabbing for their holsters -- Riggs, meanwhile, looking around frantically, he's trying to find the guy with the gun who is, of course, himself.

, ie

LETHAL WEAPON - Rev. 7/28/86 26. CONTINUED: (2) 7 | 35

Murtaugh takes a flying leap -- sails across

. the desk, going for the glory -- And Riggs, in the

blink of an eye, simply ducks -- and flips Murtaugh neatly over one shoulder. There is a hideous crash of BREAKING GLASS and OVERTURNING FURNITURE. Ouch... McCaskey, meanwhile, screams to Burke:

McCASKEY What the shit is going on?

Burke sighs, shakes his head:

“INT. OFFICE 7 | : 36

Darkness. A soft CLICK as a gun is cocked. The barrel gleams faintly in the dim light. A voice:

(beat ) ‘I'm going to light a match.

He does. Holds it near his face.

Thank you, Mr. Mendez.

The lights come on. Dazzling. Mendez covers his eyes. Three men. Seated in chairs. Shirt sleeves and shoulder holsters. The LEADER speaks. . *

LEADER | . | If you'11 follow me, please.

They move toward a door in the rear wall. JOSHUA (LEADER)

I trust you're having a pleasant holiday season?

(CONTINUED )

LETHAL WEAPON - Rev. 7/31/86 27. CONTINUED: 36

The door opens into a dimly-lit office. Stained carpet. Rotten wood. A desk.

Behind the desk sits a large, rugged man with eyes like chips of stone. This is the GENERAL.

Joshua stands off to oné side. . Mendez sits. MENDEZ

(under his breath) Where'd you get him? Psychos 'R'

Us?

. GENERAL ‘Hardly.

Points to another merc.

GENERAL

Mr. Larch is’ unfortunately missing ‘an eye. ‘For anonymity's sake, he _ chooses to forego wearing a patch,

. ‘MENDEZ . Swell. Blind people with guns. This is a class act. Maybe we can run over to the V.A. and pick up a couple amputees. Bargain rates after six.

GENERAL _ I don't find you funny.

. MENDEZ - I don't find this goddamn setup % funny. (beat) You're using mercenaries, for ' Chrissake. Tell me I'm wrong.

“oN

f™.

_ LETHAL WEAPON - Rev. 7/28/86 28. * 37 CONTINUED: | 37

' GENERAL No. ‘You're not wrong.

GENERAL

My people are loyal, Mr. Mendez. They are loyal to me. ,

GENERAL _ Joshua. Hold out your hand.

Joshua steps up to the General end extends his arm.

Give me your lighter.

Mendez frowns, cautiously hands a silver cigarette lighter to the General. * Who promptly pulls an old ‘G. Gordon Liddy maneuver:

He holds the flame right under Joshua's hand. Searing it. Mendez looks on, a trifle pale.

As for Joshua, he makes no sound at all. Simply stands, trance-like.

Mr. Joshua is in a great deal of pain. You wish to make a purchase, yes?

‘The General nods, hands the lighter back to Mendez.

LETHAL WEAPON - Rev. 7/28/86

GENERAL

Filthy habit, smoking.

(beat ) The bulk of the heroin will . arrive Friday night. We will make delivery at that time. Please have the money ready, and no tricks. If you try to cross us, I'll have Joshua cut. out your eyes.

(beat ) Merry Christmas.

%* %

&

39 *

Riggs and Murtaugh cruise through downtown Los Angeles.

Riggs drives, while Muxtaugh scowls.

ward pause.

“So. They tell me you're a good

cop.

Phoenix Project in Vietnam, that

right?

-MURTAUGH Assassin stuff?

MURTAUGH

And they gave you the Congressional Medal of Honor.

There is an awk-

aa Nae

LETHAL WEAPON - Rev. 7/28/86

| RIGGS It was a lean year. MURTAUGH It's over, you know. ; RIGGS What is? MURTAUGH The war. RIGGS Yes. I know. MURTAUGH Just thought I'd remind you.

(beat ) Check out your piece?

C) He reaches across the get Riggs' gun. At which point . Riggs' hand shoots out -- and stops him cold. RIGGS

Bad manners, man.

Riggs removes the gun himself. Steers with his knees. Drops the chambered bullet. Slips out the magazine, works the slide, KA-CHIK -- ! Hands the gun to Murtaugh.

Murtaugh hefts the weapon, turning it over in his hand: Beretta .9 millimeter. Smooth, well-oiled. Accurized. Murtaugh frowns.

- MURTAUGH .9 millimeter Beretta. That's some serious shit.

-38 Special.

Murtaugh shoots him a look. Replaces the gun.

(CONTINUED )

CONTINUED: (2) 40

RIGGS (CONT'D)

Everyone thinks I'm suicidal, in which case I'm fucked and no one wants to work with me. Or they think I'm faking to draw a psycho pension, in which case I'm fucked and no one wants to work with me. Basically, I'm fucked.

Ain't got no choice. Damn. We're both fucked.

As they speak, Riggs has pulled to a stop in front of a large downtown bank building.

; RIGGS Hate him back. Works for me.

He lights a cigarette.

Dick Lloyd's office: everything about it looks starched and perfect. In the b.g., bank employees shuttle between desks, building and toppling empires. DICK LLOYD paces back and forth. He is the man we saw earlier in Amanda's photograph, standing next to Murtaugh. Now he looks like shit. He addresses Riggs and Murtaugh, who are seated in

the office. : (CONTINUED )

41 CONTINUED: | 41 () LLOYD Murder...! But I thought... MURTAUGH

Poisoned. Even if she hadn't jumped... she'd still be dead.

He sits, staring out the window. A broken man.

Called you...? Yeah. That's right... I heard you were working out here... I wanted you to find her for me, Roger. Take her out.

my little baby... smiling... She did it... with a woman. She was on top of a woman, Roger...!

Lloyd ‘turns, facing them. Intense:

an

LETHAL WEAPON - Rev. 7/31/86 | 34. CONTINUED: (2)

Lloyd does not look up. Riggs and Murtaugh head for the door.

The cops exit. The door shuts. _

Riggs and Murtaugh head for the car. Riggs takes out a pack of cigarettes.

‘He puts the top down.

Riggs takes out a cigarette, starts to put it in his mouth. Stops.

He replaces it in the pack, takes another. Murtaugh looks at him.

Riggs points to the tip of the replaced cigarette. We notice two things: a) It looks like it's about fifty years old; and b) there is a tiny red mark, circling the filter. RIGGS This one is the last cigarette I'll ever smoke. (MORE )

eH %

LETHAL WEAPON - Rev. 7/28/86 | 35, 42 CONTINUED: 7 | 42

J) RIGGS (CONT'D)

Trick I learned from my dad. I smoke all I want, but when I smoke this one... I'm through.

‘They get in. Murtaugh heaves a sigh, stares bleakly out the window. A moment, then Riggs says:

saved my life in the La Drang Valley. Took a bayonet in the lung.

The RADIO SQUAWES . Murtaugh TURNS it UP.

_Murtaugh keys the hand mike.

{ ) —_ RIGGS en oo This is great. I love this job.

LETHAL WEAPON - Rev. 7/31/86 36.

A building, ten stories high. On the ledge, a lone man poised high above the street. Beneath him, a crowd has gathered. A police car. A searchlight. A crowd of office workers, rubber-necking to beat the band. One or two kids yell, "Jump, jump."

Murtaugh's car glides to the curb. The doors burst open and the two partners emerge. A PATROL COP approaches.

(beat )

Who's the guy?

PATROL COP

Salesman: name of MacCleary. Left the office party. Went upstairs and walked out on the ledge.

. PATROL COP Seems serious enough. Who knows?

Riggs clears his throat. Murtaugh turns.

% %

*%

QU

LETHAL WEAPON - Rev. 7/28/86 37. CONTINUED: a | 43

Riggs moves off toward the building. Murtaugh looks after him. Was this a mistake...?

Riggs appears on the roof. There, about five yards away, stands the JUMPER. Agitated. Breathing hard.

Below is ten stories of open space. The wind blows.

Riggs nods to the Jumper.

MacCLEARY (JUMPER) Go away.

MacCLEARY Fuck off.

MacCLEARY Look, I know all the psychology bullshit, it won't work.

mo ‘RIGGS I'm not a psychologist. MacCLEARY Yeah? What are you? RIGGS Homicide cop. MacCLEARY

You're early. Hang on a couple minutes, you can go to work.

LETHAL WEAPON - Rev. 7/31/86

MacCLEARY (swallows ) Len. Len MacCleary.

MacCLEARY M -- A -- C, now get outta here.

Riggs leans out farther, perches on the ledge.

calm. _

“eo: RIGGS Why are you doing this?

MacCLEARY None of your goddamn business.

Riggs stands, steps out onto the narrow ledge.

unconcerned. .MacCLEARY Don't come near me! RIGGS Ssshhh. Easy. I'm just going to talk. MacCLEARY

Touch me and I'11 jump.

| RIGGS I understand.

Absolutely

He seems

On the ground below, Roger Murtaugh reacts with disbelief. His partner is taking an insane risk. Up above, Riggs pauses. Around him the WIND BLOWS treacherously.

RIGGS | You're not the first guy to think of this, you know. Everyone's got problems.

MacCLEARY You know shit.

() | RIGGS

Wrong. You're wrong.

(beat ) I almost tried this once. Seriously. My wife. Got killed in a car crash. Only person I ever cared about. I never had kids.

MacCLEARY You're breaking my heart.

Riggs takes out his wallet, flashes it at MacCleary.

RIGGS

This is her picture. MacCLEARY

Nice... .Fuck off.

RIGGS

I'm trying to tell you I understand,

you dope.

He takes a step closer. omy . MacCLEARY

‘Don' t touch me. I'm not doing anything wrong.

MacCLEARY Right. Only one hurt is me.

MacCLEARY No! . (beat) Dammit, keep away. RIGGS - Please. This is scary stuff. Just... let me stand next to you. MacCLEARY

Don't try nothing.

Nae

RIGGS

I try something, we both go. (CONTINUED )

CONTINUED: (2) 45

MacCLEARY Right.

Riggs slowly steps up to the man. Shudders.

MacCLEARY Me, too.

. RIGGS You wanna smoke? (pulls out cigarettes ) Let's smoke, okay?

-MacCLEARY Sure. :

Riggs offers a smoke. MacCleary reaches for it. And Riggs snaps a handcuff on his wrist. Snaps the other end onto his own wrist.

MacCLEARY Hey...!

_ RIGGS Sorry.

(beat) See this. key?

He holds up the key to the cuffs. Flings it out into space.

MacCLEARY You bastard.

(CONTINUED )

CONTINUED: (3) 45 Silence.

He turns, starts to ease along the ledge. MacCleary swallows hard, says:

MacCLEARY Fuck you, I'm jumping.

And suddenly Riggs turns on him. Eyes like steel.

He steps to the edge.

MacCLEARY Hey, what the fuck...!

MacCLEARY Hey, wait a minute...!

Riggs does something very drastic. He jerks them both off the ledge. Holy shit. The crowd gasps.

. As down they plunge, all ten stories -- Tumb ling and

falling -- MacCleary shrieking like a lunatic... And suddenly, BAM -- ! They land in a fireman's net. Bounce

_a few times. Come to rest, safe and unharmed... Riggs

rolls over with a sour look on his face. Cops surround them. MacCleary is a trifle upset.

MacCLEARY Get him away from me!! Cut me loose!! Crazy fucker tried to

kill me!! Did you see that?? He tried to kill me!!!

And so on, screaming and ranting -- As a uniformed cop cuts Riggs free with a set of clippers. Riggs stands _ shakily. Steps away from the net. And there is Roger Murtaugh. Visibly upset.

a Need

CONTINUED: (4) 45

Did I say upset? I meant enraged. He grabs Riggs, slams him against the wall. Tries to grab his collar. Riggs' hand shoots out. Lightning fast. Stops Murtaugh's hand. Stops it cold. They stare into each other's eyes.

. RIGGS Don't... touch me.

Murtaugh will not back down.

He yanks Riggs around the corner, away from the other cops.

MURTAUGH ; Shut up. Just yes or no, do you want to die? Huh? Yes or no?

You're. not answering the question!!!

What do you wanna hear, man? You wanna hear that I got a bottle of pills in my room? Ido. Every day I wake up, I look for a reason not to take them. Doing the job, that's... that's the reason.

Murtaugh looks at him. Nods. A moment, then:

VY

CONTINUED: (5) 45 RIGGS I'm not afraid of it. MURTAUGH Here. (unholsters his gun)

Pills are too slow. Use a gun. Use my gun. Go ahead, pal.

A pause. Riggs looks at the gun.

He offers the gun to Riggs.

Riggs smiles, takes the gun without missing a beat. Puts

it to his head. CLICK -- ! The hammer is cocked. Murtaugh and Riggs stare each other down. Tense. Reading each other.

Meanwhile, in the b.g., pedestrians are diving for cover. Murtaugh and Riggs are oblivious. Riggs puts the gun

under his chin.

They stare at each other. Riggs' finger begins to tighten on the trigger. Turns white with pressure.

It looks like he's going to do it.

At the last second, Murtaugh jams his thumb in front of the hammer, and CLICK -- !

Jesus...

The hammer thuds against his thumb.

Murtaugh grabs the gun. Stares at Riggs, wild-eyed.

(CONTINUED )

.) Lar

LETHAL WEAPON - Rev. 7/28/86 44, CONTINUED: (6) a . 45

The Police Psychologist we met earlier is talking on the telephone:

_ motches in his gun barrel. One for each kill. He blew a man to pieces yesterday. Is this helping? a

INTERCUT: ROGER MURTAUGH . | 47 Standing at a pay phone, listening. He nods:

MURTAUGH |

Terrific. So you're saying I should worry.

‘MURTAUGH ; Thank you, Doctor. fou ve been very helpful.

He hangs up. Rubs his eyes tiredly and says:

' Murtaugh is driving. Beside him, Riggs stares out the

window, impassive. A strained silence. Then:

(CONTINUED )

CONTINUED: 48

; RIGGS The guy who paid for the apartment and the car.

Question. As in talk. As in don't kill anybody.

_ - MURTAUGH Beside the point. No killing: Ix-nay on the illing-~-kay.

The kind of house that I'll buy if this movie is a huge hit. Chrome. Glass. Carved wood. Plus an outdoor solarium: A glass structure, like a greenhouse only there's a big swimming pool inside. This is a really great place to have sex.

LETHAL WEAPON - Rev. 7/28/86 - 46,

The swimming pool is covered by a vinyl tarpaulin. Surrounded by a jungle of plants.

AT POOLSIDE TABLE _ 51

Sits a very rich person. He is wearing an $800 designer | ensemble. Beside him, an elegantly-appointed shotgun leans against the table. He is on the phone.

Riggs and Murtaugh approach the gate. Riggs tosses out a cigarette. Suddenly -- There is an ELECTRIC HUM and the gate glides softly open, admitting a red Honda scooter, a dashing blonde behind * the wheel. She ROARS off down the street.

Riggs and Murtaugh exchange glances. The GATE CLICKS, starts to glide shut.

The cops enter.

Riggs' face comes INTO FRAME, peering cautiously through a plate glass window. He whistles softly.

Murtaugh steps to the window, looks in.

MURTAUGH'S POV - THROUGH THE WINDOW 54 * Enough cocaine to service the third tier at Yankee = Stadium. =

A. BLONDE, BIKINI-CLAD WONDER sits on the couch, happily Snorting. She sees Murtaugh and waves hilariously. Makes come-hither gestures.

% ob %

LETHAL WEAPON - Rev. 7/28/86 BACK TO SCENE Murtaugh scowls, turns to Riggs.

RIGGS

I'm thinking probable cause.

46A.

CONTINUED: - . 55 MURTAUGH Jesus. Maybe I should call for backup. . RIGGS

What am I, chopped liver?

Murtaugh looks at him. Sighs.

Riggs and Murtaugh approach the frosted glass door. They draw their guns.

. RIGGS Nice and easy.

Murtaugh takes a deep breath. Kicks open the door.

MURTAUGH | Police. Hold it right there.

The rich guy does not hold it right there. In fact, he has already snatched up the SHOTGUN. He triggers a BLAST, BLOWS OUT GLASS next to Murtaugh. Murtaugh dives, rolls, comes up in a combat crouch. BAM ---! The rich guy takes it in the shoulder. Spins around. The gun clatters to the ground. Riggs and Murtaugh approach, guns drawn. The rich guy writhes on the ground, clutch- ing his shoulder. Murtaugh says to Riggs:

.. And we question him. Know why we can question him? Because I got him in the shoulder. I didn't blow him up or jump off a building with him.

CO)

Right. Piece of cake. I'm very happy. Read the man his rights, I'll be over here being happy.

Unfortunately... as Murtaugh speaks, he does not see the man on the ground has a hideaway gun tucked into his waistband. As Murtaugh talks, oblivious... The guy takes out the gun with his good arm -- and aims dead center at Murtaugh's back. Riggs, however, notices. And springs into action. Before the rich guy can fire... Riggs’ foot flashes out like a pile driver. CRACK! The guy flies backward. Lands on top of the pool tarpaulin. Oops. It promptly surrounds him in a sucking, vice-like grip. Murtaugh dives forward and extends his hand. Too late. The vinyl surrounds the screaming rich guy, sucks him below the. surface. Smothers him.

Drags him to the bottom. Murtaugh looks on, wild-eyed. On the bottom of the pool is a vinyl tomb. Murtaugh dives in. Swims to the bottom. Yanks, and strains, but we all know it's no fucking use. The vinyl stops moving. Murtaugh stares... and then he gives up. Surfaces at the side of the pool, gasping and wheezing. Riggs kneels down beside him.

Murtaugh Stares daggers at him.

star? (he pulls out a soaked pack of cigarettes) Shit.

a nead

LETHAL WEAPON - Rev. 7/28/86 : | - 49,

Behind Riggs and Murtaugh, crime scene cops scurry back and forth. Flashing lights. Cameras. Murtaugh makes his way to the car. Riggs beside him. As they reach the car, Murtaugh stops:

_ RIGGS I bet that hurt to say.

| _ MURTAUGH You have no idea.

The two detectives come through the front door, shedding their jackets. . Young Carrie appears, nursing a Popsicle.

(giggles) They're § buttheads.

. MURTAUGH Tell Mommy hate is a mild word.

Trish is cooking as the two cops enter.

LETHAL WEAPON - Rev. 7/28/86 . 50. 60 CONTINUED: | : 60

CO) MURTAUGH Hi, honey. (he looks in the oven) We're having something brown... A largish brown object...

; TRISH It's roast.

Roger, you're being an asshole. (kisses his ear)

Don't forget to compliment Rianne. on her shoes.

Murtaugh exits. Riggs stands awkwardly as Trish removes the roast from the oven. —

. RIGGS My wife could burn water.

60A

LETHAL WEAPON - Rev. 7/28/86 - $2. CONTINUED: (2) 60

He reaches for a stray piece of roast. Trish slaps his hand.

Riggs smiles. A genuine smile, the first we've seen.

Murtaugh is fixing drinks as RIANNE enters. We all heave a Sigh. She is strictly to perish for.

MURTAUGH ~ Hello, daughter. Nice shoes.

MURTAUGH

A hundred and -- (frowns )

-- They're shoes.

And that's all they do...? There's not, like a TV inside?

62A

62B

LETHAL WEAPON - Rev. 7/28/86 52. *

Young Nick Murtaugh is sitting in front of the TELE- VISION, watching a "Charley Brown Christmas" and color- ing a picture with. a big box of crayons. He stops. Frowns. Looks up -- At Martin Riggs, who is peeking his head around the corner, watching with rapt fascina- tion. Riggs chuckles, points to the screen:

; RIGGS This is good. I like this.

Nick looks at him very strangely. Okay, so the guy likes cartoons...

Everyone is gathered, eating. Incredibly homey and domestic-looking.

' For Riggs, who eats ravenously, it is the first taste

of warmth in many a long year.

ACROSS THE TABLE . OO 62A

We notice something kind of neat:

Rianne simply cannot take her eyes off Riggs.

She stares at him, in a trance. Her brother NICK nudges her in the ribs. She pulls a face.

MURTAUGH _ 62B

b Has also noticed his daughter's attentions, and you can bet he's not all that happy about it.

Dinner is over, and Riggs and Murtaugh sip drinks. They are alone. Riggs lights: a smoke, carefully avoiding the "last cigarette.'

MURTAUGH | Looks open and shut. Rich guy's dealing drugs, banging Amanda Lloyd on the side. She finds out a little too much. Boom. He kills her.

RIGGS

I do, but that's beside the point. | (CONTINUED)

LETHAL WEAPON - Rev. 7/28/86 . 53. 63 CONTINUED: (Al) . , 63

MURTAUGH | * Fair enough. So who did the girl? * RIGGS | | ¥ Tell you tomorrow. *

Rianne suddenly appears.

you get grounded. That's the way that works.

_ a

, MURTAUGH The one with the pits in his face?

: RIANNE Those are dimples, Daddy.

-RIANNE I hate you.

Riggs exits, wearing his coat. Murtaugh stands on the

porch. .

RIGGS

Enjoyed the meal. MURTAUGH

Bullshit, but thanks anyway.

A pause.

Riggs stands there. Then:

CONTINUED: 64

He walks toward his car. Stops.

Kill people... Only thing I ever did good. When I was nineteen, I did a guy in Laos from a thousand yards out. Rifle shot in high wind.

(beat ) Ten guys in the world coulda made that shot. Huh. Only thing I was ever good at.

(pause; then) Well, see you tomorrow,

Riggs drives away. Murtaugh watches him. Turns. On the way back inside, he flicks on the Christmas lights.

Martin Riggs cruises along in his battered pickup truck past all-night dives and porno houses. The streets are nearly deserted. Except for a young HOOKER on the cor- ner. Real young, maybe seventeen. Riggs sees her and

pulls over to. the curb. The Hooker approaches.

RIGGS

Aren't we all?

~~ —e———

(2

CONTINUED: 65

She does. Closes the door.

RkIGGS Bullshit.

Sixteen.

Riggs nods. Takes out a hundred-dollar bill and sets it in her lap.

He drives away from the curb.

The house is dark and quiet at this hour. Roger Murtaugh fixes a sandwich in the kitchen. Rickles the CAT PURRS, rubs against his leg.

He kicks it aside. Notices a package on the counter, » tegether with a scribbled crayon note:

HAPPY BIRTHDAY SERGEANT MURTAUGH

The gift is a 99¢ special, right off the rack at Pic N' Save: The TUFF N' READY Police Action Playset; Tiny plastic gun, made in Taiwan. Tiny plastic badge. Murtaugh smiles. Notices another package next to it. Frowns. Its label reads: ROGER MURTAUGH: POLICE EVIDENCE.

\

Ne 7

LETHAL WEAPON - Rev. 9/3/86 57.

He opens the package. Two things: a high school year- book; also a videocassette. Takes it, slides it into a VCR machine. Turns on the television.

SAME PLACE - LITTLE BIT LATER «68

Murtaugh is in front of the TV. On his lap is. a high school yearbook. Open to the middle. He glances down, sees -- a photograph of Amanda Lloyd. Senior picture. Smiling. Young. The girl most likely to. He looks up up at the television. On the screen Amanda Lloyd is writhing in ecstasy. Smiling. Murtaugh continues to watch. Lights another cigarette. There is a sad, _ faraway. look on his face.

Very late now. Murtaugh walks down the hall to a bedroom door. Opens it a fraction. Inside -- His daughter Rianne is asleep.

A shaft of moonlight falls across the bed. She is more

beautiful than we've ever seen her. Murtaugh crosses to the bed, leans down, and kisses her forehead. She stirs in her sleep, smiles like a cat, and whispers:

Murtaugh recoils. Stands up. We realize that up until this moment, see, he thought she was maybe a virgin...

“He takes: off his robe, drapes it on a chair. Gets: into

bed silently next to his sleeping wife. Lies awake, staring up at the ceiling. The RAIN BEATS on the window, throwing odd shadows across his face. He drifts toward Sleep. As he does, we ever so slowly...

‘INT. MURTAUGH BEDROOM 71,

Sunlight streams through the windows, Murtaugh stirs | groggily, forces open his eyes. Staring him in the face is Martin Riggs' scruffy, early morning face. Murtaugh frowns.

%

ee

LETHAL WEAPON - Rev. 9/3/86 . . 58.

_ MURTAUGH . Martin...?-

Murtaugh just stares at him.

Murtaugh grimaces. MURTAUGH Do you know what time it is...? | RIGGS _

Day time?

MURTAUGH

I'll get dressed. — | CUT TO:

In the kitchen Trish is singing something bluesy, fixing

coffee. At the table Nick is drinking milk. Murtaugh sits. . Riggs takes off his shoulder holster, and with

meticulous care drapes it delicately over the back of

his chair. Sits opposite Murtaugh.

, _ RIGGS ‘You're seriously using ketchup? MURTAUGH Yeah. RIGGS On eggs. MURTAUGH Yeah. (beat) Who made the ketchup? RIGGS Heinz. MURTAUGH

Who made the eggs?

©

US

LETHAL WEAPON - Rev. 9/3/86 _ 59. CONTINUED: 72

Riggs looks to Trish.

Riggs leans forward.

- RIGGS Roger. MURTAUGH © Yeah. | RIGGS

That hooker who witnessed the jump the other night. What was | her name? —

| -MURTAUGH | Dixie. a CARRIE What's a hooker? MURTAUGH Shh, quiet, I'm combatting crime. NICK A hooker is a... _ RIGGS (interrupts)

Right, and she's in Century City witnessing Amanda Hunsaker's suicide --

a _ MURTAUGH -- or murder -- RIGGS -- right, or murder, and my question is... what is she doing there? TI

called Wilshire Vice, that's not her usual turf.

RIGGS | Cut me a break, it's a hunch, Roger. I'm having a hunch. ~

LETHAL WEAPON - Rev. 9/3/86 | - 59A, * CONTINUED: (2) | 72

RIGGS ; 7:35, and yes, I thought you'd be excited.

(pause) Okay.

. MURTAUGH Okay, go for it. I'm listening.

Riggs and Murtaugh stand on line at the range. Around them the echoing BOOM of gunshots fills the morning air. . They struggle to be heard over the tumult:

Okay. Let's say it was Dixie.

. RIGGS. Sure. She thinks, terrific, Amanda swallows a couple downers and boom, she's dead. Then Dixie --

‘

LETHAL WEAPON - Rev. 9/3/86 59B.

(Al) — 73

‘downstairs. RIGGS People are coming out to see what happened. ee MURTAUGH

Someone spots her. She says ‘shit.’

LETHAL WEAPON - Rev. 7/28/86 60.

73 CONTINUED: Co - 73 RIGGS Right. She actually stops and says, 'Shit.' _ MURTAUGH Or, 'Damn.' RIGGS

Or 'Golly, I've been spotted.’ The point being --

. MURTAUGH The point being, now she has to cover her ass.

Would you lay off the cooking?

Riggs steps to the line. Draws the Beretta, fires off a full clip. Three-shot rhythms, two in the chest, one in the head, two in the chest, one in the head.

Removes the magazine, lovingly snaps in a new one.

LETHAL WEAPON - Rev. 7/28/86 61. CONTINUED: (2) a | | 73

. -MURTAUGH Here, stand back.

Murtaugh steps to the red line. Stretches. Cracks his neck. Shifts from foot to foot. Finally steadies him- self. A moment then: He cross-draws with lightning swiftness. -- BANG -- ! The REPORT is DEAFENING. The target grows a neat third eye. Perfect shot. Dead center. Murtaugh grins, holsters his gun.

Riggs shrugs. Draws. FIRES. He isn't even looking.

Nonetheless. -- He puts a magnum round right through

the hole made by Murtaugh's .38. The hole gets .60 inches wider. ‘Murtaugh scowls.

- MURTAUGH Yeah, yeah. Eat me.

He stalks away, pissed off.

OMITTED oe 74

Murtaugh's car glides up to the curb. In front of a

row of neat frame houses. Old neighborhood. Late model cars. A LITTLE black KID playing on the sidewalk.

CONTINUED: 75

The two cops get out, stride toward a cottage set back from the street. They pass the Little Kid who is playing with a plastic bucket and a headless Star Wars figure.

The Kid grins, obviously pleased with himself.

He demonstrates. He puts it on top. It falls down. He grins happily. Riggs shakes his head.

They keep walking. Toward the cottage.

They mount the steps to the walk. As they do -- The HOUSE suddenly EXPLODES. It BLOWS APART concussively. There is a flash of light, a loud, flat BANG --! And the thing tears to pieces. Glass blows out. Wood sprays. Flying shrapnel. A wall of flame. Riggs hits the dirt, smothering the Little black Kid. Murtaugh dives for cover

‘behind a telephone pole. A piece of shrapnel imbeds it-

self; right next to his head. Carnage. Noise. The

tumult slowly begins to fade. Echoes. Flames rage to the sky. Smoke rolls. Beams collapse. The cottage is no more. Murtaugh climbs to his feet, dazed; stares at

‘the rubble. Looks over toward Riggs, who is getting

up off the Kid. The Kid is shaken, but unhurt.

‘Riggs turns.

Riggs looks. The back of his coat is completely ablaze.

; RIGGS Shit.

He takes it off, flings it aside.

‘i

LETHAL WEAPON - Rev. 7/28/86 CONTINUED: (2) Goes up to Murtaugh. Lights a cigarette.

Cops prowl through the gutted remains. Charred and

black. Nothing left. A body goes by on a stretcher. MURTAUGH stops it.

" MURTAUGH .

Ho. (he looks under the sheet ) Jesus. _ ATTENDANT

We're hoping to find some teeth in there. Otherwise, could be anybody. Black, white... Could be a fuckin' bowl of soup, for all we --

The stretcher continues toward the waiting truck. Murtaugh looks off, whispers:

ANOTHER ANGLE

Martin Riggs is examining a twisted hunk of metal as

Murtaugh walks up beside him.

(CONTINUED )

CONTINUED: | . 77

Murtaugh frowns. A PATROL COP taps him on the shoulder. . -.PATROL COP Sir, I. think you'd better come with me. —

Riggs and Murtaugh exchange glances. They move off, across the street.

' EXT. STREET - BACK OF FIRE TRUCK 78

Riggs and-Murtaugh stand by the rear of the truck. A CONSTRUCTION CREW watches from behind, heavy equipment idling softly. Next to them sits the little blackkid

from earlier, coloring with crayons. His mother

hovers...

- MURTAUGH --Where? ©

hidin' under the stairs. Says he saw the guy pretty good.

c) MURTAUGH / You call the gas company?

. MURTAUGH oN Hi. I'm Detective Murtaugh. What's Qj your name?

He stares at Murtaugh with eyes like saucers.

_ MURTAUGH How old are you, Alfred?

(beat ) Bet you like the Gobots, huh?

Alfred nods.

. MURTAUGH Me, I'm a G.I. Joe man.

NY

CONTINUED: (2) 78

; ALFRED Do you kill people?

Murtaugh grimaces. Alfred's mother looks away quickly.

_ MURTAUGH Alfred, this man you saw. The meter man...? (beat) . You get a good look at him?

MURTAUGH

Great. Listen, you ever watch "Starsky and Hutch'? ‘Cause the police, sometimes they need help. They need police helpers. Detectives.

(he takes out

a plastic badge,

puts it on

Alfred's chest) If you want, you can be a junior detective. If you want.

The kid looks at him. Distrust.

. MURTAUGH ‘Keep it, it's yours. Official detective. Alfred nods, grins. MURTAUGH

The man at the meter. Can you...

picture him in your head? Think

about what he looked like. Got

it? Alfred nods. Murtaugh picks up Alfred's box of crayons. Hands it to the little boy.

() : ALFRED

I'm a good drawer.

Riggs clears his throat. Rolls his eyes.

Attention all units. Large yellow bird. Silly voice.

Alfred nods, takes the crayons, and carefully selects a bunch of colors. Lays them out like Da Vinci fixing his ‘palette. | Riggs shakes his head.

| RIGGS | Brilliant police work? I think so. Oo | TIME CUT: 79.‘ ANOTHER ANGLE 79 Minutes have passed. | MURTAUGH

Martin, have a look at this.

Riggs crosses. Alfred has finished his drawing, and guess what? It's hilariously bad. Like a six-year-old drew it or something. Riggs rubs his eyes.

\. - (CONTINUED)

Qo f \

He laughs even harder now. Giggling. Murtaugh scowls, snatches the picture away.

Riggs is hooting. Murtaugh shows the picture to Alfred.

_. (points) . Alfred. This is... the man's arm, right?

Okay. Now this mark. Is this... What is this?

Riggs stops laughing. Moves in closer.

. MURTAUGH Was it a birthmark? (points to his arm) Was it like this?

ny

CONTINUED: (2) 79

ALFRED

No. It was pained.

. MURTAUGH

Pained. RIGGS

Pained, pained. What's he saying? MURTAUGH

Sssshh.

(beat)

It was... painted? ALFRED

Yeah. MURTAUGH

Like a tattoo?

(beat) Do you watch Popeye? Was it a tattoo like Popeye has?

Riggs rolls up his sleeve, exposes his Marine tattoo. You've seen the type: A Tweety Bird with a machine gun, or some such.

The boy's. eyes go wide once again. He points at Riggs' arm.

The cops stop, . puzzled.

; ALFRED. Yeah. Man had the same thing.

Alfred nods. The cops exchange glances:

LETHAL WEAPON - Rev. 7/28/86

(3) | MURTAUGH | Martin. RIGGS Yeah. MURTAUGH

What the hell are we into here...?

A sprawling, expensive villa nestled on the side of a

bluff overlooking the ocean.

gazebos.

ocean looks cheap by comparison.

in progress.

Terraces, verandahs, Architecture that merits three syllables.

The

A memorial service is -A group of people, mostly young, friends

of Amanda Lloyd;. all are dressed in funeral black.

' NEARBY --

Martin Riggs is collapsed in a lawn chair, smoking and

looking thoroughly out

frowns...

over his knuckles like

fingers.

of place. puffs on his

ANOTHER ANGLE

Seeing the girl, he

cigarette, and rolls a quarter a stage magician. A thoroughly unconscious habit.

Nimble, trained

Dick Lloyd looks worse than ever. He stands, staring out over the ocean -- as a hand comes out of nowhere...

grabs his shoulder, and spins him roughly around:

Face-

to-face with Roger Murtaugh. Eyes burning like cold fire. .

LLOYD

Roger... What... What's up, buddy?

MURTAUGH »

Not much. (beat ) Wanna tell me about it?

| LLOYD Tell you about what?

(CONTINUED )

eyes.

about... Roger, I ---

MURTAUGH

‘Keep your hands in front.

- startled)

Hey. Take it easy, man. . MURTAUGH Fuck easy.

(beat).

When you called me the other day, you were gonna blow the whistle, weren 't you?

Lloyd swallows hard, flustered. He can't meet Murtaugh's

MURTAUGH

‘Talk to me.

“LLOYD MURTAUGH

They paid off a hooker to poison your daughter. Talk to me!

C)

Ve

CONTINUED: (2) . | 82

Lloyd shoots a desperate glance across the lawn. At his

other daughter, Amanda's twin.

Dammit, Roger, I've... I've got another daughter!

; LLOYD Protected. That's a laugh... You don't know these people.

TIME CUT:

The two men are inside now. The sunlight filters in through a large picture window from the lawn.

‘Lloyd is pacing back and forth. He touches his stomach

in the classic gesture of ulcer-carriers everywhere. Opens the fridge, removes a carton of milk. There must be three cases of the stuff. Drinks, turns to Murtaugh. A man at the end of his rope:

| MURTAUGH I'm listening.

. LLOYD © I ended up working for a group called Air America. C.I.A. front, -secretly ran the entire war out of Laos. I was part of a special unit called Shadow Company. Mercs. Trained killers. When Charley. was bringing in heroin to finance the V.C. government, Shadow Company went in and burned it all down. We killed everybody. But we also... formed a plan.

Cy

MURTAUGH

Bringing what in?

Two shipments a year. Run by ex-C.I.A. Soldiers, mercs. No

‘one knows.

Lloyd does not reply. A pause, then:

why'd they kill Amanda? Why not

just kill you?

| | _ LLOYD

They can't. They need me. MURTAUGH .

Why? LLOYD

My bank. It's the front. Makes everything look good on the tax report.

(CONTINUED )

74,

CONTINUED: (2) 83 LLOYD This is big business, Roger. MURTAUGH (ice cold) Not any more. I'm gonna burn it down. LLOYD

You can't. It's too big. These guys are trained killers.

. Murtaugh grabs a framed picture of Amanda, slams it

down on a wooden butcher block. The GLASS SHATTERS. Lloyd stares.

Lloyd flinches. Leans back, a dreamy look in his eyes. Speaks from very far away...

And suddenly there is a gun in his hand. Aimed at Murtaugh.

now. Murtaugh does not budge. Lloyd cocks the hammer.

Murtaugh stares him down. Eyes like fire.

CONTINUED: (3) : 83

A moment. Lloyd stares intently. Finger sweating on the trigger.

LLoyd blinks. Swallows. Another moment. Finally -- He lowers the gun. Sighs. .

Murtaugh relaxes visibly. And that's when two things

happen. The picture WINDOW GLASS suddenly COLLAPSES.

Falls TINKLING into a million shards. And the carton of milk in Lloyd's hand pops, spurting milk all over the front of his black suit. He frowns. Stares at the dribbling milk. Blinks. And his eyes snap open wide, as blood seeps out of his shirt, spattering the floor.

7 LLOYD Roger -- !

With his dying breath, he leaps in front of Murtaugh. Takes the SECOND BULLET. The one meant for Murtaugh.

It blows.him: into Roger, takes them both to the floor in a breath-crushing impact. More BULLETS CHOP the kitchen. China PLATES BURST into a glassy spray. Food spatters and gushes, staining the walls. Murtaugh rolls free, then, a man possessed: Screams out the window:

' MURTAUGH —_ Riggs!!!

Murtaugh's voice is far away. Riggs looks up from his

lawn chair. Notices two things: One: Everything seems normal. Nobody has heard the shots. Two: The glass in

the kitchen window... something strange, what the hell is it... oh, yeah, it's broken, someone broke the glass...

And Riggs is on his feet in the blink of an eye.

N Z

BACK INSIDE - 85

- Murtaugh is at the window. Gun pointed.

has no idea where the sniper is, and suddenly BAM -- ! The wood blows out not two inches from his head and he

ducks , and meanwhile -- back outside. MARTIN RIGGS 87 is on the move. He jogs... trots... runs... Noticing a

lone man in black, striding quickly across the lawn, striding into the crowd... toward the edge of the bluff... Things happen fast now, pay attention, as -- The man

-turns, sees Riggs... Riggs sees him... and the man is

none other than Mr. Joshua. Crew cut. Sunglasses. Moving fast.

MURTAUGH 88

diving out the window. Hits. Rolls, comes up. Scream- ing, waving at Riggs..

across the lawn, Murtaugh thirty yards behind, moving, hard and fast, both guns drawn, pushing/shoving, knock- ing people ass over teacups and meanwhile let us not forget --

JOSHUA ) . : 90

moving..at a dead.run, now, gun: out... at the edge of the

cliff. People all around him, confused, I mean Jesus, what the hell is all this shooting about, and Riggs can't

get a clear shot... He's sweeping the gun, back and forth, bodies crossing in front of him... all the wrong bodies, Goddammit...! Moving forward, shouting: RIGGS Lie down!! Down!!!

Murtaugh, springing hell bent for leather -- and folks, grab your hats... because just then, a BELL COBRA HELI- COPTER crests the edge of the bluff.

CONTINUED: 90

An explosion of sound.

As it rises like an avenging angel..

Hovers, Shattering the air with ‘turbo- throb, sandblasting the hillside with a roto-wash of loose dirt, tables,

chairs, everything that's not nailed down...

Screaming, chaos, frenzy. Three words that apply to this scene.

And in the midst of all this -- Joshua steps onto the chopper and is hauled inside.

No expression.

The total professional. a

And then, my friends, it's bye-bye time. The CHOPPER ROARS like a behemoth, tilts --

slips over the side and plummets away...

Slick. Very slick. Except Martin Riggs is not impressed.

He's still running, you see...

Dives flat at the edge of the cliff, nearly flings himself over the damn edge...

GUN extended like it's part of his arm...

Finger flat on the trigger...

Blowing SHOT after SHOT at the retreating chopper...

BAM-BAM-BAM -- ! His face contorted in a rictus of animal concentration...

And he wings the chopper, even. POP -- ! and a silent spray of fiberglass, but nossir, no cigar. "cause the damn chopper flies away.

And Riggs dumps his magazine, stuffs in a new one... and Jesus Christ he keeps FIRING.

As Murtaugh walks up beside him. Stares down. Gun held loose at his side. ,

Riggs still FIRES, BAM-BAM-BAM -- ! It's over, but he

doesn't know it yet... Until his MAGAZINE CLICKS empty.

He lies flat.

Stares.

People screaming, running away.

Murtaugh standing over him, staring down at this animal with a gun, who even now refuses to look away from the retreating chopper, whose gun even now continues to follow its course out over the sea.

Hands, clutching the barrel.

Finally, they relax.

Riggs shuts his eyes.

Murtaugh stares. (CONTINUED )

CONTINUED: (2) oo | 90

‘Riggs looks up at him. His eyes look like a demon's. |

Joshua and his pilot are cruising over the surf at break-

. neck speed, the rotor stirring tiny geysers of water.

Joshua speaks into a radio microphone.

INTERCUT - THE GENERAL - 92

In his van, speaking on mobile phone.

. . JOSHUA Lloyd spoke to the cops, sir.

. JOSHUA No, sir. I missed.

There is a significant pause. Joshua licks his lips. Then:

94A

LETHAL WEAPON - Rev. 7/31/86 79,

A black Camaro is parked at the side of the road. The city twinkles beyond.

Two teenagers, engaged in a first-rate makeout session. One of them is Roger Murtaugh's daughter Rianne. The other is MARK, he of the hilarious dimples. They are kissing when Rianne suddenly pulls away:

Mark, I gotta get home.

- MARK Would you quit worrying? Your ‘mom thinks you're asleep and your dad's busy shooting crooks.

MARK

Some things are worth dying for.

He leans in and kisses her. Passion, horniness. Some- thing. Hé runs a hand inside her sweater. She starts to

resist. Gives in. * RIANNE Wait. She takes out her gum and sticks it to the steering wheel. % Leans over to kiss him again -- . * FACE . — . 944 * comes INTO FRAME. Right outside the window. Crewcut. * Shirt .and tie. No less than Mr. Joshua himself, as we -- *

CUT TO: | *

Martin Riggs walks slowly down the boulevard. In one hand he carries a snapshot of Amanda Lloyd. Male pros- titutes take one look at him and flee.

He stops to light a cigarette. As he does -- He notices a reflection in the silver lighter.

96A

LETHAL WEAPON - Rev. 7/28/86 80. ve CONTINUED: | 7 95

Two pinpoints of light. Moving. He throws away the cig- arette. Spins, drawing his gun. HEADLIGHTS, as a car comes barreling out of the darkness. Bearing down on Riggs at fifty miles an hour. Riggs FIRES. The WIND- SHIELD. SPLINTERS. No dice. The car keeps coming. Riggs FIRES again, sprints for cover -- As a mercenary leans

out of the car window with a pump SHOTGUN. Triggers THREE BLASTS at Riggs. The first two blow out chunks of scenery. The third takes Riggs in the chest. Blows him backward through a store window. GLASS SHATTERS. He hits the ground in a heap. The CAR SHRIEKS off into the night, LAYING RUBBER. The ECHO of gunfire slowly FADES on the wind... ,

INSIDE DARKENED STORE | 96

Riggs lies crumpled in a pool of broken glass. Murtaugh — charges from across the street. He throws himself down beside the dead Riggs. Rips open Riggs' shirt revealing -- A bulletproof vest. Riggs opens his eyes.

The cops exit and cross the street toward their car.

He takes out a pack, lights one up.

cy

j ho

96A

LETHAL WEAPON - Rev. 7/28/86

_ MURTAUGH (sighs) So okay, ace: -What do we do now?

‘MURTAUGH | Hilarious. What do we really do?

get famous, do shaving ads and shit.

‘RIGGS Gives us the edge, Cochise. (smiles)

They think I'm dead, Roger. I'm ‘a corpse. And aren't they just gonna shit when I nail their butts...?

A pause. They look at each other. Suddenly the police

RADIO SQUAWKS. Murtaugh answers it. | DISPATCHER (V.0.) Four King sixty, meet four king ninety on tach two.

He adjusts the frequency on the radio.

96A

% % %

LETHAL WEAPON - Rev. 7/28/86 82. 964 CONTINUED: (2) a | 964 *

Cy. a PATROL COP (V.0.) Four king ninety, four king sixty. Got a homicide, Mulholland Drive.

There is a long pause. Then:

- Suddenly, Murtaugh goes completely pale. So does Riggs. _Murtaugh hits the gas...

“ 97 EXT. MURTAUGH HOME - NIGHT 97

Murtaugh's CAR SCREECHES to the curb. Hops the sidewalk,. jolts to a stop. The two cops are out and running in a

. dead heat toward the front door. Murtaugh flings open | the door. Stops. On the carpet beneath the mail slot

.is a tiny envelope with SEASONS GREETINGS emblazoned across the front. A note is attached with a paper clip. One side reads DETECTIVE ROGER MURTAUGH. On the other side is a message in block capitals.

YOUR DAUGHTER LOOKS REALLY PRETTY NAKED

Murtaugh tears open the envelope, afraid to breathe. Inside is a Polaroid snapshot. The audience may get a glimpse of it, or they may not. Either way, the effect it has on Murtaugh is devastating. He drops the snapshot like a live snake. Backs away, stumbles into the wall. Shakes his head.

Riggs looks on, stunned. The TELEPHONE RINGS. RINGS again. oo

(CONTINUED )

r \

—

%

LETHAL WEAPON - Rev. 7/31/86 83. CONTINUED: _ 97

Murtaugh looks up. Snaps out of it. Down the hall, his wife Trish moves to answer the phone.

He rushes down the hall, scoops up the receiver:

He listens intently, a look of pure dread.on his face. Hangs up slowly, stares straight ahead. On the table, a stuffed bear stares back impassively. Trish Murtaugh

‘looks on, terrified.

‘MURTAUGH | They took my kid... Bastards took my kid.

Beside him, Riggs'. face contorts into a look of sheer, brutal hatred... Get ready for World War Three.

McCaskey is. seated next to a bank of telephones, smoking

and reading a comic book. Behind him the fat cop we saw earlier is conducting his choir in a thoroughly hideous version of "Deck the Halls." The PHONE RINGS.

McCASKEY McCaskey, Homicide -- just a '.moment, please -- Hey, will you guys for Chrissakes shut up??.

Yes, can I help you?

INTERCUT - McCASKEY AND MR. JOSHUA , - 99

Joshua is on the other end. Beside him the General looks on intently.

JOSHUA | Hello, I'm calling from the K.T.L.A. News department. We

heard that Sergeant... um, Riggs, is it...? had some trouble tonight, and -- —

LETHAL WEAPON - Rev. 7/31/86 83A. 99 CONTINUED: (Al) a | | 99

a C) | McCASKEY (interrupting) Yes, Sergeant Riggs has been killed. Shot through the chest by unknown assailants.

_

LETHAL WEAPON - Rev. 7/28/86 84,

McCASKEY It's a bad day for all of us. And what is your name, sir?

He hangs up. Turns to the General.

talk. OMITTED

Trish Murtaugh looks like she could come apart at any moment.

' She walks around the bedroom, slowly.

Touching things. Touching her daughter's possessions.

'Murtaugh enters. They look at each other.

He hands nen Ene : ~22.

His wife nods. Runs a hand through her hair. Shifts from one foot to the other.

A moment. Then:

100 * 101 *

%

%

Nw’

LETHAL WEAPON - Rev. 7/28/86 | 85, CONTINUED: . 101

| 7 TRISH What about you...?

Murtaugh says nothing. . %

Riggs has his shirt off, and is carefully removing

slivers of glass from his shoulder. Cigarette dangling from his lips. . :

%

He hears a noise -- And. spins, startled.

RIGGS’ POV - SIX- YEAR-OLD CARRIE MURTAUGH 103

Adorable in a blue night gow Rickles the cat cradled ¥ lovingly in her arms. ¥

Riggs relaxes. Smiles. . Carrie walks over to him. =

' CARRIE I can't sleep.

He scoops her up.

Carrie looks at him then.

And she does a peculiar thing. Slowly, she reaches out... Riggs looking on... And touches his back. Runs her tiny hand over the knife scar beneath his Bhoul@ers

Fascinated by it.

* oe %

LETHAL WEAPON - Rev. 7/28/86 86/87. CONTINUED: a _ 103 Riggs looks at her. Smiles, and whispers softly:

And he suddenly hugs the little girl for all he's worth. Closes his eyes tight.

In that moment, every single year catches up to Riggs, and he looks, for a moment, incredibly old, and so very, very tired.

Carrie is asleep on the couch, snuggled beneath a knitted

afghan. Riggs and Murtaugh stand across the room, con- ferring in hushed tones.

%

% %

C)

Swe

A pause.

You shoot, you shoot to kill. Get as many as you can. Don't miss.

Riggs studies Murtaugh. Then:

- RIGGS We're gonna get bloody on this one. (beat ) You're going to have to trust me.

Murtaugh stares at him for a moment. Then, he finally

speaks...

There is a pause. Then:

No one can touch me.

At which point, my friends, a light flickers on behind Riggs' eyes. ,

We see grim determination, sure...

But we also sense something else, oddly enough: Anticipation.

Riggs is a machine... and the machine is, well... revving up. He looks at Murtaugh:

Cy) aa wa

eS

5 H \ ; \ ;

Seat

LETHAL WEAPON - Rev. 7/28/86 89. ve

CONTINUED: (2) 7 104 RIGGS _ Get half. I'11 kill the other half.

A moment passes between them. This will be the most devastating night of their lives. They will probably die.

A RINGING PHONE shatters the stillness.

OMITTED | | — : 105

The apartment is dark, illuminated only by a tiny lamp. Riggs crosses to the window, peers out through slatted blinds. On TELEVISION a group of carolers sings "TIDINGS OF COMFORT AND JOY." Riggs looks at the wall calendar: . December 22. The CLOCK TICKS. The REFRIGERATOR HUMS.

“He goes to the closet. Opens it. A cloud of dust

billows out. Reaches in, removes a weathered cardboard box. -Sits in the center of the room, takes a shot of . bourbon.

Opens the box. Inside is a set of desert fatigues. He takes them out. Underneath a wicked-looking hunting — knife. He takes that, too. Holds it up near his face, and it positively sparkles in the dim light...

TIME CUT:

ANOTHER ANGLE. | | 107

| Riggs stands, fully dressed. Colt .22 in an ankle _. holster. Combat webbing. Desert boots.

Beretta .9 millimeter, riding the right-hand thigh. Scans his appearance in the mirror. Breathes: in, out... in, out...

Glances at the photograph of his wife on the wall. Wedding gown. White lace-and-satin ruffles. Beautiful.

His face is craggy. Weathered. Covered with desert paint. Surely he was never married... not this demon...

(CONTINUED )

LETHAL WEAPON - Rev. 7/28/86 90,

There is a KNOCK at the door. Riggs spins. Lightning quick. Gun in hand.

VOICE (0.S.) Me. Murtaugh.

The door opens and Roger Murtaugh enters, carrying a briefcase. He looks briefly at Riggs' combat get-up. Shrugs. Sets the briefcase on the bed, opens it. It is filled with round upon round of ammunition.

MURTAUGH | . No.

Riggs begins scooping up handfuls of ammo.

Murtaugh is hooking a wire in place under his collar.

He straps on his hunting knife.

Don't get too close. They'll spot you.

Riggs hoists a long-range sniper rifle. Infra-red scope.

The desert. floor shimmers with stored heat, bathed in relentless sunlight.

(CONTINUED )

LETHAL WEAPON - Rev. 7/28/86 : 91.

A lone car, plowing along toward the horizon. Looking lost and utterly alone beneath the clear December sky.

Driving. Relentlessly onward, his face locked in a mask

of contained fury. Dust billows past the windows. Wind.

He keeps driving, straining his eyes ahead, focusing through the hundred-degree shimmer... Noticing, finally

a series of shapes... dim mirages... silhouettes maybe, possibly men... possibly the men... The mirage resolves.

Mercs. Standing next to a black sedan. Murtaugh stiffens. Leans forward, punches the cigarette lighter, and as he does -- he whispers into his hidden

' microphone.

‘MURTAUGH Split.

It happens in the blink of an eye: The trunk pops open, and out rolls Martin Riggs. Yanks a rope. The trunk slams shut. Riggs hits. Rolls. Comes up, combat- crouched, hunkers off at a dead heat. He is clad in

his -desert fatigues. Magnum sniper rifle slung over

one shoulder.

Murtaugh rolls to a halt and steps. from his car.

Facing three armed mercs. Murtaugh simply stands there, reading the odds. Scanning... ,

MERC #1 ' Murtaugh?

as

CONTINUED: 112

MERC #1 Hands up. Come with us.

MERC #1 She's not here.

The. Mere nods.

Inside, Rianne is gagged, helpless. She looks terrified. Next to her, Mr. Joshua holds a cocked pistol. Merc #1 leans in:

MERC #1 He wants to see the girl.

BACK OUTSIDE . | 115

Murtaugh waits. Sweating. Hands in pockets. And out comes Rianne, followed by the vicious Merc. He holds a knife squarely at her throat. Murtaugh's eyes fill with

‘tears. Relief that she's alive.

a MERC #1 Simple exchange. You come with us, the girl takes a walk.

MERC #1 No. Take your hands out of your pockets,

He slowly raises his hands. In his left hand, he clutches a shiny metal sphere. A grenade. Murtaugh's grip is the only thing keeping it dead. The Merc swears violently.

(CONTINUED )

CONTINUED: | 115

MURTAUGH

This fucker's alive. (beat }

Let her go or we all die.

And that's when Mr. Joshua steps out of the car. Deadly calm. All heads turn. Crewcut. Mirrored sunglasses.

MERC #1 But sir...

MR. JOSHUA

He's bluffing, it's a dud. He wouldn't risk killing his

daughter. | MURTAUGH Don't push me. | . MR. JOSHUA Take him. .

Far away. The car and the surrounding figures are tiny. A lone soldier crouches. Riggs. The rifle is on his shoulder. His eye is glued to the scope.

INFRA-RED IMAGE SHOWS RIANNE AND HER CAPTOR 117 4

Riggs’ concentration is absolutely perfect. Like a Statue. He licks a finger. Raises it, testing the wind.

BACK WITH MURTAUGH | 118

As he and Joshua stare each other down. Tense. Tense. His hand clutches the grenade. Merc #1 pushes the knife into Rianne's throat.

MERC #1 Put the pin back in. Do it.

Murtaugh sweats. Mr. Joshua begins to walk forward, gun extended. Cool as ice. Another step. Smiling...

ON HILLTOP | | 119 Riggs sits dead still, focusing through the sniper

scope.

1219

5 ree

co 122

+ 125

CONTINUED: 119

He sights down the gun and pulls the trigger: All hell breaks loose. Here's what happens: BAM -- ! The bullet catches Murtaugh in the shoulder. He drops the grenade. It rolls, and Mercs dive for cover. The Merce holding Rianne takes a step back. Bingo.

ON HILL . . 121 Riggs grunts. FIRES. BELOW : 122

The Mere drops. Joshua's head snaps around. He stares off at the distance and hisses:

| JOSHUA Riggs...!

| Meanwhile, Murtaugh rolls, comes up, gun in hand. FIRES,

BAM -- !

Rianne bolts. Meanwhile --

ON HILLTOP i | 123 Riggs swivels the barrel, half an inch. Grunts. FIRES. DOWN BELOW | 124

The black sedan's WINDSHIELD SPLINTERS. The car rocks with the impact as the driver is killed instantly. —

GRENADE | 125 chooses that moment to EXPLODE, poof...! into a cloud of

orange smoke. A shower of confetti.

CONTINUED: 125

| JOSHUA Dud! It's a dud!

RIANNE . 126

is running for the car as Joshua swivels in her direction, lining up the UZI, FIRING a BURST -- Until a bullet from Riggs parts his hair, sends him diving to the sand, the © Uzi sprouting flame -- As Rianne flings open the car door, Screams -- at the blood-spattered corpse which rolls off the steering wheel. BULLETS BLAST the car. METAL POPS and BURSTS. She jumps in.

MURTAUGH | 127

is flat on the sand, FIRING like crazy, shot after shot -- As Rianne floors the gas, the CAR PEELING out in a storm

- of flying sand and dirt. Door open. One leg hanging

out. Plows into an armed merc. He flies up onto the hood, spins, still conscious, and takes aim through the

“windshield, right at her...!

-ON HILL 128

Riggs swivels, lightning quick.

Grunts. FIRES.

MERC ON HOOD | . 129 is blown off the car.

RIANNE | - 130 Screams, the dead driver sprawled against one shoulder, ther. foot nailed to the gas pedal... as the car leaps

like a kicked dog and careens off into the desert.

CLICK -- ! He whirls. The General has arrived. Stand- ing at the top of the hill. His M-16 is cocked and locked. ,

He speaks into a walkie-talkie.

CONTINUED: oe 131

ON DESERT FLOOR ) 132

Murtaugh makes a break for it, FIRING blind -- Until the ground before him literally EXPLODES with GUNFIRE. The earth is chopped to tatters. Dirt flies. He stops. Puffing for breath. Raises his hands. As the smoke clears, Mr. Joshua approaches like a demon Ehnough fog.

‘He is flanked by two meres with Uzis.

ON HILLTOP 133

Riggs stands, hands over head. The General studies him thoughtfully.

-RIGGS Yeah. It! 11 almost be a shame _When I kill you.

GENERAL

{laughs ) I don't think so, son.

DESERT FLOOR | | 134 Mr. Joshua says to Murtaugh:

; MR. JOSHUA You're about to have a fun evening.

Joshua slams him in the head with a karate blow. He falls.

“

LETHAL WEAPON - Rev. 7/28/86 97,

Rianne is driving to save her life. Screaming at the

‘top of her lungs, the needle touching 90 as she strug-.

gles to shove the merc's dead body into the corner.

Swerving. Screaming. At which point --

The sand explodes in front of her.

She shrieks. A HOWL of noise, a veritable eruption of sand and dirt, and it's one of two things, it's either aliens from space, descending -- or it's a Bell Cobra nebicopres:

Rianne swerves to a halt to avoid the DRONING CHOPPER, which hovers like. a behemoth, ROTORS THROBBING, as Rianne stumbles from the car and collapses in a heap on the sand.

Lost, alone, her tears inaudible over the HIGH, CHURN-

ING WHINE as we

_ FADE ‘our. FADE IN:

Riggs is naked. He is manacled hand and foot. Chained in a bathtub full of water. Around him is a dingy con- crete basement. Joshua steps forward. Behind him is KENDO, an Oriental mercenary. He is working on a mechan-. ical device of some kind. Connecting wires. Riggs grunts. | | JOSHUA Well, well. Look who's back from the dead. ; Riges struggles against. the manectees slopping water. Please save your strength. I _ believe you'll need it. Riggs stops moving. Scowls at Joshua and says nothing. * Joshua smiles. . ¥ JOSHUA ve You're just in time for a lot of * pain. * . * RIGGS

I'm thrilled.

LETHAL WEAPON - Rev. 7/28/86 98.

| JOSHUA © Oh, you will be. I daresay you'll be... shocked. —

Kendo snickers in the corner.

JOSHUA

‘His name is Kendo, and he has

forgotten more about dispensing pain than you will ever know.

oe RIGGS Terrific. Listen, guys, can we get some Mister Bubble in here...?

_ (beat)

See, Martin, we have a problem. Since we have Murtaugh, we really don't even need you. But I believe in being thorough.

Across the room, Kendo throws a switch.. A mechanical HUMMING fills the room.

JOSHUA

Our problem -- and yours, too

-~- is that we have some merchandise to deliver. A rather large shipment, we're all very excited. It would be unfortunate, however, if we showed up with the . goods and found ourselves surrounded by fifty cops.

LETHAL WEAPON - Rev. 7/28/86 _ - 99, 136 CONTINUED: (2) ee 136

| —. RIGGS Such a deal, I should worry.

He gestures to Kendo, who approaches. He is carrying a very ominous device: a sponge, attached to a portable -dry-cell battery casing... Joshua frowns at Riggs.

Joshua nods. Sighs.

. RIGGS Please, no tickling. I hate tickling.

JOSHUA

The 'patient' is chained naked in a bathtub full of water. A bath is then administered using

- a battery powered sponge. The | pain is said to be so excruciating that after twenty minutes most men are either insane or dead.

LETHAL WEAPON - Rev. 7/28/86 100. 136 CONTINUED: (3) Se 136 () Riggs is silent. :

The Oriental moves forward. He brandishes the sponge/ battery hookup. Dips it into a bucket of water. Riggs is sweating. me

RIGGS = Haven't you guys... heard of

yuletide cheer...?

a | ‘Kendo hits Riggs with the sponge. Riggs screams. A high, lunatic scream. -

Thrashes in the water, splashing Kendo, whipping from side to side as the room spirals back and forth out of focus. Kids, don't try this at home. Kendo removes the device. Riggs falls backward. Thumps against the tub. Sucking air. Moaning.

| JOSHUA ' . My goodness. Now that was fun, wasn't it?

_ Riggs looks at him. Dripping hate.

RIGGS , I'm going to kill both of you. JOSHUA (laughs ) , That's very funny. (beat ) About the shipment...? RIGGS of Fuck yourself. »

Kendo dunks the battery. Run it down n Riggs’ stomach. He Screams again, as we mercifully..

wv

LETHAL WEAPON - Rev. 7/28/86 - 101. OMITTED . 7 | 137

No windows. Hardwood floors. A single chair in the center of the room. Roger Murtaugh is strapped tightly to the chair. His face looks like something his wife makes for dinner. Black eyes. Swollen jaw. His shirt is off, exposing the gunshot wound in his arm. The General stands facing him, flanked by three mercs. They all wear holstered sidearms.

GENERAL . ¢ (sighs) I hope you enjoy saying that as much as Mr. Larch enjoys punishing you for it.

MR. LARCH, a big redneck with no discernible compassion,

steps forward. Pours a big handful of baking salt from a container. Packs it into Roger Murtaugh's gunshot wound.

Murtaugh groans. Shouts. Struggles.

(CONTINUED )

CONTINUED: 138 The General looks on without blinking.

| MURTAUGH That's it... if you guys think I'm _sending you a Christmas card you're nuts.

Larch cuffs him, hard.

Larch grins, leaves the room. A pause. Murtaugh sweats , glaring out from swollen eyelids. The General nods, smiles.

as he groans and collapses back into the tub. Splash. Moans feebly. Blood drips from his nose. Saliva drools from his limp mouth. He looks half-dead, probably be- cause he is just that. Kendo pulls away the battery Sponge, says to Joshua: g

Fry his nuts.

He exits.

LETHAL WEAPON - Rev. 7/31/86 103.

(O The General leans over Murtaugh. Murtaugh sweats.

GENERAL »

Anytime, Roger. Anytime.

(beat ) See, the thing of it is... We know where you live.

(frowns ) In fact, Mr. Joshua has been known to exterminate entire families, when he gets in... one of. his moods. Oh, speaking of that --

Larch re-enters the dingy back room. This time he's got Murtaugh's daughter Rianne. She is clad only ina T-shirt and bikini briefs.

| RIANNE Daddy... please don't let them hurt me...!

Murtaugh goes nuts. Struggles, wrenches, bangs the chair up and down against the floor. No use. He is completely help- less. Snarls with rage:

_ . . MURTAUGH a, Bastards... Untie me and I'll kill every one of you.

. GENERAL Precisely why we would never think of untying you.

Larch shoves Rianne.into the corner. She lands in a heap. Murtaugh is sweating buckets. Eyes desperate. The * General leans in close:

ee GENERAL | If you know something, son, you. better play ball, ‘cause the stakes just went up...

Kendo switches on the battery again. In the tub, Riggs' head lolls back and forth. Listless. Dead. His eyes refuse to focus. Kendo shows him the sponge.

Ne (CONTINUED)

ee

LETHAL WEAPON - Rev. 7/28/86 , . 104, CONTINUED: | | : 141

Riggs does not respond. Stares into space. Kendo leans over the tub, reaches in -- And that's when we find out

Riggs has been faking. His eyes focus. No longer hazed. He snaps his hand forward to the end of the chain. Grabs Kendo by the hair. In the blink of an eye, he slams the man's head down against the porcelain tub. Kendo's nose shatters. The Oriental topples over into the tub. The

battery drops to the floor. Riggs is a fucking machine:

he flips the chain around Kendo's neck and wrenches.

Hard. He goes limp. Riggs is not through yet. He begins to heave and thrash, thrusting against the chains

_+- Maneuvering the corpse on top of him. Shifting it.

Moving Kendo's pants. pocket within reach. He reaches in. Slowly, carefully, brings out a shiny silver key...

A length of rope is pulled taut. RIANNE's bound hands are stretched over her head. Larch hooks the rope around a peg set into the wall. She is helpless. Murtaugh is out of his mind. Struggling to break free.

_ GENERAL Good Lord. Very wholesome- looking girl. Yessirreee.

GENERAL .

We'll soon know, won't we? Larch approaches Rianne. ‘She squirms.

| MURTAUGH

No!!

(beat) You touch her, you're dead.

_ He picks up a baseball bat. Tosses it to Larch.

)

CONTINUED: 142

Rianne screams. Murtaugh shouts. Strains. The chair thumps up and down, creating an insane, staccato rhythm. The General laughs. Rianne shrieks. Harrowing. Terri- ble. A scene out of Hell. And then the Devil comes in and kicks the door off its hinges. Okay. Okay. Let's stop for a moment. First off, to describe fully the mayhem which Riggs now creates would not do it justice. Here, however, are a few pointers: He is not flashy. He is not Chuck Norris. Rather, he is like a sledge-. hammer hitting an egg. He does not knock people down. He does not injure them.

He simply kills them. The whole room. Everyone stand- ing. Except for -- the General, who ducks out a side door and escapes... Riggs' chain moves like a live thing. Snapping here. Striking there. Mercs try to draw their guns -- And suddenly their hands are shattered wrecks. One merc draws a bead on Rianne, almost gets off a shot, because Riggs is across the room. Without missing a beat -- Riggs throws the chain. It wraps the guy's neck and kills him instantly. Quch... He goes down, FIRING use- less ROUNDS into the ceiling. Plaster rains. Riggs spins, dives. Scoops up the baseball bat. Comes up beside an armed merc -- Swings the bat with hurricane force. A sickening impact. The bat breaks in half. Riggs spins, combat-ready. Scans the room. No one left to kill. Using only the element of surprise, he has taken out an entire room in hand-to-hand combat. He steps in front of Murtaugh without missing a beat. Cuts him loose with a borrowed knife.

Crosses to Rianne, cuts her free. She collapses sobbing into his arms.

He scoops up handguns, throws them to Murtaugh. Takes for himself a pump shotgun, possibly the same one used against him earlier. Murtaugh stares dumbfounded at the

body count. RIGGS

They're all dead. Let's get out of here.

The three of them.

LETHAL WEAPON - Rev. 7/28/86 106. CONTINUED: | 143

On the run, moving hard and fast. They scramble down the hallway, Riggs in the lead, as -- a-merec ducks around the corner, sees them. Ducks back. Riggs FIRES through the wall, BLAM -- ! A corpse falls into view. They keep moving. Downstairs. Around another corner. Moving, moving.

The three of them keep moving. Rushing headlong toward a sign marked EXIT. They may actually make it... Or not. For at that moment, Mr. Joshua looms up behind them and tosses something in their direction. Ducks back out of

sight. It's a live grenade. The grenade hits the floor.

He slams the door and ROARS off down Hollywood Boulevard.

Clatters. Riggs stops instantly. He knows the sound. Spins. Dives. Scoops up the GRENDADE and chucks it with

- all his might. It bounces downstairs and EXPLODES at the

foot of the steps.

Joshua skids to a halt next to a sedan.

Ho

The crowd parts like the Red Sea. People are screaming. And suddenly, the doors burst open -- As Riggs, Murtaugh and Rianne come skidding out onto the sidewalk in hot

“pursuit. Murtaugh shoves his daughter back as Joshua

‘FIRES out the window of the car. BULLETS lash the pave-

ment. The crowd shrieks. The CAR SCREECHES away. ANOTHER ANGLE - | se | : 145

A beat cop comes running up, and Murtaugh shoves Rianne in his direction. Flashes his badge. MURTAUGH Get ‘her out of here.

. ANOTHER ANGLE - MURTAUGH AND RIGGS. 146

go running after the car. Side by side. Beaten. Bloody.

Naked from the waist up. Murtaugh FIRING his PISTOL. Shot after blazing shot.

(CONTINUED )

CONTINUED: | 146

Riggs unloading with the M-16 on three-shot mode, the muzzle flash blinding, the noise DEAFENING -- Until pedestrians swarm suddenly into the line of fire. Blocking them. Except Murtaugh won't give up. He runs after the car, shouting:

His GUN CLICKS empty. He tosses it aside. Pulls another from his waistband. The car. Far away.. FIRES FOUR more SHOTS. Collapses in the street. Nearly unconscious. Crawls forward after the car, blood streaming from his broken nose... Going on sheer guts. Finally gives out. . Slumps in a heap. Riggs kneels beside him as a police CAR ROARS up to them, flashers spinning. Riggs is a man pos- sessed. We PANA-GLIDE with him as he runs forward. M-16 in one hand. Badge in the other. ,

He takes off after the Joshua's car. On foot. Someone better tell this guy to lighten up. The car is far ahead, racing onto a freeway on-ramp. Riggs runs. Sweat pours off him. Seeing the car on the ramp, he changes direction. Starts running an intercept course. Leaps out into the street -- Spins, as a TRUCK BLARES out of nowhere, BRAKES SQUEALING, HORN SHRIEKING. Somersaults over the hood. Lands. Keeps moving. Barrels across the street. Faster now. Even faster than before. Feet pounding. Gun swinging. Dashing out onto the freeway overpass. Where, without stopping, he promptly jumps the guardrail. Drops through space... And lands, thump -- ! Atop the big green freeway sign. Swings like an acrobat. Dangles from the sign, twenty feet above the ground. Levels the M-16 one-handed, switches it to full auto. Waits...

BENEATH HIM a | | 147

Joshua's CAR comes SCREAMING through the underpass, doing eighty. Riggs unleashes the GUN. It BLAZES with cruel FIRE. STRAFES the back of the car. Sure enough, BLOWS out both TIRES -- Throwing the VEHICLE into a deadly SKID -- Slewing across the freeway -- STRIKING the GUARDRAIL at sixty-plus. It slides for a full hundred yards, send- ing up a shower of sparks. The back tires disintegrate in a trail of burning rubber. The CAR GRINDS to a halt. The door opens and Joshua rolls out. Riggs FIRES. Kicks up a cloud of cement near the merc. Joshua RETURNS FIRE.

ANOTHER ANGLE 148

Big chunks of the freeway SIGN BLOW OUT next to Riggs'

head. He is showered with wooden debris.

LETHAL WEAPON - Rev. 7/28/86 | - 108. CONTINUED: | | 148

Riggs lowers the gun. Lets go and drops twenty feet to the pavement. Lands, rolls, comes up. A CAR swerves around him. CRASHES into the guardrail. Riggs doesn't even look. Instead, he begins to walk. He is a fucking juggernaut.

UP AHEAD OO | 149 Joshua turns, sees Riggs -- and stops.

They are separated by perhaps two hundred yards. Joshua snaps his rifle to his. shoulder. Eyes glued to the scope. Riggs ‘swings his own rifle into position -- and we've got

. the showdown at the 0.K. Corral. A battle of wits. Each '-one scanning through the scope.

Looking for a- clear shot, as CARS SWERVE around and

between them. The crosshairs sweep the freeway. Perfect concentration. Riggs. Joshua. Two soldiers. And suddenly, the shot is there: Joshua sights in on Riggs' position. Only problem is, Riggs' rifle is pointed right at the CAMERA. .He is sighted in on Joshua. Simultaneous. They FIRE at. the exact same moment. TWO SHOTS. Two

distinct RIFLE CRACKS. Riggs takes it in the shoulder.

Blown backward. Joshua goes down, winged. Riggs. Joshua. Each looks like shit. They struggle to their feet... And that's when a car backs up into Riggs at thirty miles an hour. Broadsides him. Sends him flying.

‘UP AHEAD | 150

Joshua rushes up to'a stalled car. Throws open the door. Yanks out the driver, hops behind the wheel. ROARS away.

An ambulance shudders to a halt and two ORDERLIES hop out. Uniformed COPS are struggling to hold back the

crowd. One of the Orderlies rushes up.

He points -- and suddenly frowns: © There is no one _ there. Murtaugh is gone. Nowhere to be seen.

()

L52A

152B

153A

LETHAL WEAPON - Rev. 7/28/86 - 109, *

A sleek black VAN careens around the corner.

A MERC is driving, foot glued to the pedal. THE GENERAL sits sweating in the back seat.

ANOTHER ANGLE . 152B

The headlights flash wildly as the car roars down the alley.

The General stares ahead, and suddenly gasps...

‘Cause wouldn't you know it, there's ROGER MURTAUGH. Fifty yards away. Standing in the middle of the street.

ANOTHER: ANGLE : | , 153

There is no reason for Murtaugh to be standing. He is a walking testament to man's ability to bloody himself.

And he's pissed... The Merc sees him, snarls -- punches the gas. Murtaugh holds his ground. He can barely stand. And then he does a peculiar thing: He examines his hand. No question. A definite tremble. Scowls. Stretches. Cracks his neck.

Shifts from foot to foot, steadying himself. He has one shot. The numbers are falling, it's all coming down -- And he's ready. The van comes barreling in. Doing fifty. Now or never...

He cross-draws with lightning swiftness. BAM -- ! The REPORT is DEAFENING. The WINDSHIELD promptly SHATTERS. And the Merc sprouts a neat third eye. Perfect shot.

Dead center. The van swerves. Murtaugh steps out of the way. Deadly calm. As the van careens past -- He salutes the General. Watches, expressionless... The CAR SLAMS into a telephone pole and rolls over. GRINDING METAL.

An ERUPTION of GLASS. It continues to roll like some great beast, crumpling and folding like an accordion...

“Comes to rest, upside down in a sea of glass...

The General is pinned beneath a crumpled door-frame, struggling to break free, as FLAMES lick upward from the ruptured gas tank.

And then the General sees something which ruins his whole day.

153B

153C

LETHAL WEAPON - Rev. 7/28/86 | 109A.

GENERAL'S POV ' -153B * The Merc's corpse, sprawled over the steering column... * with a shiny metal GRENADE attached to his belt. * Flames dance around the grenade. * ANOTHER ANGLE | 153c * The General squirms, strains, yanks for all he's worth... * Fingers reaching out for the grenade... * Flames burning his outstretched hand... * And it is, as they say, all she wrote. ¥

‘Murtaugh is walking like a zombie. Away from the VAN.

Gun held loosely at his side. Suddenly -- It BLOWS sky high. A tower of fire. Blows Murtaugh flat. Knocks him ass over teacups. ECHOES down the street. Turns night into day for one brief instant. And then -- Then something truly incredible happens. For the first time

‘in nearly a century -- it begins to snow in Hollywood.

Murtaugh looks up, a "What the hell...?" expression on his face. Sure enough --

HEROIN 155

is sifting down on the night air, ten million dollars’ worth... A cloud over the entire street. Swirling in the breeze.

MURTAUGH 156

gets slowly to his feet, checking for broken bones. If it wasn't busted already, apparently it's okay now. Time passes. A hand rests on his shoulder.

MARTIN RIGGS . 157

Stands next to him. Cops swarm behind them. The heroin

Snow continues to fall. The wreck burns. Riggs looks at Murtaugh. Murtaugh looks at Riggs. The two most physi-

cally abused men in film history.

No dice. First thing we gotta do is get you to a hospital.

He moves away. Riggs starts to follow. Goes to toss his

cigarette in the gutter, and stops: There is a tiny, red

mark at the tip of the filter: It is the cigarette. The

‘very last one... He stares at it, a sudden glimmer in his eye.

The Christmas lights shed a happy glow. The lawn is

still littered with toys. Two uniformed COPS are watch- ing over the house, sitting in a police car across the street. One of them munches on a sandwich. The other

is doing a crossword puzzle. A car pulls up next to

them. The door opens -- out steps Mr. Joshua.

C)

lll.

CONTINUED: 158

Joshua takes an UZI from beneath his coat. No hesi-. tation. BLOWS them apart. Walks forward, gun smoking. Crosses the lawn to the front door. Kicks it to splinters.

A police CAR PEELS around the corner. Takes out a Salvation Army BUCKET, which POPS like a clay duck. Coins shower every which way.

Murtaugh is driving like a lunatic. Beside him, Riggs

‘.-holds a: handkerchief to his gunshot wound.

Joshua stalks down the hallway of Murtaugh's house.

Stops in front of the bedroom door. Holy Jesus... He kicks it open. SPRAYS the interior with GUNFIRE. Shreds the mattress, dices the pillows. Trashes everything in sight: Star Wars posters. Stuffed animals. Stereo. Empties an entire clip of .9 millimeter slugs. Except the bed is empty. There is no one there. Joshua snarls. Turns.

SERIES OF SHOTS a 162

‘Kicks open another door. TRIGGERS DESTRUCTION. Plaster and wood fill the air in a cloud. Room to room. Search-

ing. Growing more and more enraged -- because there is no one here to kill. He is blowing the shit out of an empty Santa Monica bungalow. He bursts into the only room.he ‘hasn't visited. Living room. It too, is empty. There is a note, however. Taped to the Christmas tree: Big letters. :

DEAR BADGUYS

NO ONE HERE BUT US COPS. SORRY.

-- THE. GOODGUYS

Joshua swears. Runs for the door. And a police CAR

drives through the front of the house. PLOWS into the

living room, shearing boards in half, BURSTING WINDOWS, GRINDING to a halt in a sea of glass. Joshua spins, triggering the UZI. STRAFES the car. A withering FIRE.

(CONTINUED )

Lowy

LETHAL WEAPON - Rev. 7/28/86 112. * CONTINUED: oo 162

Empties an entire clip at the front WINDSHIELD, dicing

it to SMITHEREENS. Waves the gun like a WAND, STRAFING X patterns, FIRING all the while, completely EXTINGUISH- ING the car and all life within. Stops. Silence. Floating debris. Joshua lowers the gun. Breathing hard. Crosses the room, his boots crunching through broken glass. Yanks on the driver's door. It falls loose with a metal clang.

ANOTHER ANGLE = oe | | 163

A cop's nightstick has been jammed against the accel-

erator pedal. The car is empty.

Joshua spins, startled -- Stares across the room --

At MARTIN RIGGS, who? sits calmly on the windowsill.

- RIGGS Ho, ho, ho.

He raises his gun and fires without blinking. Blows the gun out of Joshua's hands. Smiles a big shit-eating grin.

Joshua turns and dives through the hole in the wall -- Lands outside, comes up running, but sorry, no. dice -- because there stands Roger Murtaugh. Drawing a bead on Joshua's running figure.

Joshua stops dead. Turns, growling low in his throat. A fire hydrant, sheared off by the runaway car, sprays water high into the nighttime air. The wind blows.

Martin Riggs steps out of the house. Pointing the .38

Special like a finger of doom. Strolls toward Mr. Joshua... the gun is rock steady. Riggs' eyes meet Murtaugh'’s, and he speaks with deadly purpose:

He steps up to Joshua. Smiles. And then he does some-

thing very strange: he relaxes his grip on the gun -- And throws it away. Faces Joshua. Raises his arms, and carefully places them behind his head. _ When he speaks, his voice drips menace:

RIGGS

Come on, ace. (beat )

Try me. 7

(CONTINUED )

LETHAL WEAPON - Rev. 7/28/86 | -- 113, CONTINUED: 7 | 163

A moment. Then Joshua calmly plants himself in front of

Riggs. Around them, water showers down in a gentle cloud.

SIRENS APPROACH in the near distance. Joshua and Riggs. Two soldiers. Their eyes lock. .And you better hang onto your popcorn, boys and girls, because it's about to get

. ugly.

And so it begins. They start to circle.

Riggs and Joshua, perfect concentration, round and round

and never, never once does their focus break, because,

baby, these guys are pros -- And here's something funny: they aren't looking at each other's eyes at all. Rather

-- They're watching each other's hands.

RIGGS 7 _ | 164

His fingers twitch. Flex. Wrist making slow, laborious circles.

looks on, sweating it out. He's not happy, he wants to end it... And yet he waits.

RIGGS AND JOSHUA oe . 167

All we see is their eyes, straining, focusing, scanning for an opening.

do that...

Riggs shifts. Blinks. And:

where is he...? Shit -- ! Comes up, darts a punch to Riggs' neck -- Riggs fields it, snap -- ! Doesn't see

the leg. It comes out of nowhere. | (CONTINUED)

168 |

LETHAL WEAPON - Rev. 7/28/86 - 114. CONTINUED: mo | 168 CRACK! The sound of Riggs' rib breaking carries clearly.

He grunts. Thrusts, inviting a countermove... Joshua counters -- And Riggs snags his hand, picture-fucking-

perfect. Breaks one of Joshua's fingers. Ouch. Backs

off. Joshua backs off. The two of them. Wounded, they circle. Round two...

MURTAUGH | | 169

Meanwhile, is raising his gun, pointing it at Joshua. Riggs’ voice cuts like a knife:

Murtaugh lowers the gun. Stares, fascinated, at this

contest between two consummate professionals. In for the . kill. It is a dance of the forces. Riggs is on fire. Leaps, avoiding a shot to the knee, spins, slams the knuckles of his hand into Joshua's nose. Busts it.

Joshua snarls, drops --. Catches Riggs' arm over one shoulder. And, ladies and gentlemen... Riggs has just fucked up. CRACK -- ! His arm breaks. He screams with

pain. Screams with.anger. Tosses three shots at Joshua. SNAP. SNAP. SNAP. RIBS, SPLINTERING. Joshua hissing with pain. Lets go. Back off (Riggs). Back off (Joshua). In pain, they circle. Round three...

RIGGS ~~ . Give it up... Your breathing's shot... JOSHUA

So's your left arm...

| RIGGS Life's tough that way... Oh, by the way: Fuck you.

He launches ‘himself at Joshua. Joshua strikes, scores a minor point, breaking Riggs’ collarbone, except Riggs doesn't care, nosirree Bob... ‘Cause he just hit paydirt: Joshua's knee. Boot-strikes, BAM -- ! Shearing the knee, maybe bursting the cap... Joshua shrieks, but then again, so would you. And he promptly jack-knives his fist right into Riggs' broken arm. Three times. Riggs

‘bellows. Refuses to quit.

(CONTINUED )

* %

LETHAL WEAPON - Rev. 7/28/86 | - Ls.

CONTINUED: _ — a 169 Slams his head into Joshua's busted nose. POP... !

Does it again. Joshua, hammering the broken arm. Pow. * (Scream) Pow. (Scream)... Until, son of a bitch... The

pain is simply too intense... nothing human can withstand

it, they fall away, staggering, wrenching to a shaky halt, facing one another, standoff... Exhausted, limping, hardly * able to speak...

POLICE CARS , 170

Pulling up now, cops stumbling out, guns clearing their holsters as Murtaugh waves frantically, screams:

MURTAUGH _ No guns. Let it go! Goddammit, det it go!! . RIGGS _ . : . 171 spits, gazes straight at Joshua. Joshua stares back. * Two soldiers. This close to collapsing. Until, breaking the silence -- comes Murtaugh's voice: | MURTAUGH Martin. RIGGS Yeah. -MURTAUGH

Do the motherfucker.

A moment... and then, my friends, Riggs does a peculiar thing: He smiles then: Damned if he doesn't. And rises up... Standing. Standing straight. There is no way he should be able to do this. And then he speaks, and it's like the voice of doom, and all of a sudden we know that. this guy is a fucking legend, we know why the V.C. en-

‘forcers whispered his name at night in the foxholes...

He is Riggs. And no one can touch him. No one.

_ RIGGS Last chance. Walk away. JOSHUA Fuck yourself. RIGGS Fine. Die. He steps forward. Stands. Joshua springs -- thunders his foot into Riggs' hip, separating the bone at the

joint... And Riggs doesn't blink. His hand comes out. Lightning quick.

LETHAL WEAPON - Rev. 7/28/86 - 116. CONTINUED: | | 171

There is a sick-sounding CRACK -- And Joshua is dead before he hits the ground. Riggs hovers over the

corpse... breathing spastic, saliva dripping from his lips... takes a handkerchief, wipes his hand, and says: : RIGGS You lose.

At which point, he collapses like a sack of grain. MURTAUGH . . 172

is running forward, tears in his eyes by this time, falls to his knees, cradling Riges in his arms, while the assembled cops look on in thoroughly stunned silence, what they have just seen is beyond their wildest imagining...

ON GROUND | | : : 173

Riggs looks at Murtaugh. Murtaugh looks at Riges.

Riges throws him a look.

(beat) I got good news and bad news.

MURTAUGH | What's the bad news?

Riggs grimaces in pain.

LETHAL WEAPON - Rev. 7/28/86 ; 117. CONTINUED: ; . 173

, RIGGS _ . Bad news is, I'm still alive...

He chuckles. Groans. Passes out. The water RAINS steadily down. The night wears on...

| CUT TO:

Christmas carolers sing outside at roadside. A big banner screams MERRY CHRISTMAS to passing cars. Christ-

mas lights. Tinsel. Murtaugh and Riggs stand on the . sidewalk, huddled against the chill. Riggs stands,

braced on one crutch. Arm ina sling. Their breath plumes out in front. of them.

There are worse things than a psych pension.

, RIGGS . (shrugs ) Probably. _*

‘RIGGS Guess not. a (beat ) , -. The Department thinks I'm wild. I don't belong anymore. Not here.

RIGGS | Who knows...? Maybe I can get a job on a remake of Cobra. —

Murtaugh looks at him.

CONTINUED: 174 | RIGGS He'd be the only one. MURTAUGH (a pause; then) Riggs. RIGGS Yeah. MURTAUGH This... is a bad old world, isn't it? RIGGS (sighs ) . Yeah. Sometimes it really is. MURTAUGH Hell. | , (beat ). I'm thinking of quitting. RIGGS Don't you dare, . _ RIGGS You're too old to change now, Colchise. MURTAUGH Me? Old...? - RIGGS You just hang in there.- | MURTAUGH Yeah. You, too. RIGGS Guess I'll say goodbye. MURTAUGH Sure. Come over for dinner Sometime. RIGGS No, thanks.

CONTINUED: (2) 174

He walks off down the street. Murtaugh watches him go. Pause. Turns up his collar against the chill, takes a few steps... And a man steps in front of him. The same Punk who Riggs beat the shit out of at the very beginning of the film.

Murtaugh stops. Stares. Blinks. And proceeds to kick the shit out of him. A kick. A punch. The Punk lies on the sidewalk, semi-conscious. Murtaugh scowls and says:

MURTAUGH

I'm fifty. That's not old, ‘dickless. ©

RAIN pours down. Martin Riggs stands over a lone grave. There are dark hollows under his eyes. The wind tugs at his hair. The tombstone reads:

VICTORIA LYNN RIGGS

BORN: 1953 DIED: 1984

He reaches beneath his overcoat and removes a bright. green Christmas wreath, which he places atop the grave. Kisses his fingertips. Presses them to the moist earth.

Carpenters are at work, patching and repairing. The Christmas lights still shine defiantly. A car pulls up.

LETHAL WEAPON - Rev. 7/31/86 120. FRONT DOOR . 177

As a hand knocks softly: The door opens -- and there stands young Rianne. Adorable. She looks up at the

visitor... It is Martin Riggs.

He hands. something to her. She takes it. The bottle of pills. It has a red ribbon tied around it.

Rianne nods.

_ RIANNE Okay. You wanna come in? We're building.

Riggs thinks it over. Shakes his head:

Riggs turns to go. Rianne stops him:

Beat. He stops. Turns and looks at her.

RIGGS : (big smile; wild wink) | No one can touch me.

Rianne blushes.

Riggs begins to walk away, into the rain...

Ponce

mine

LETHAL WEAPON - Rev. 7/31/86 121. CONTINUED: 177

Until Roger Murtaugh appears from inside the boat on the trailer hitch.

He stands on deck and looks down at Riggs.

Riggs stops. They stand there in the rain for a moment. Then Murtaugh looks him square in the eye and says:

Riggs nods. A’moment passes. Then:

MURTAUGH

You touch her, I'll kill you.

He smiles. Murtaugh smiles.

The rain falls, as they enter the house together, and we --