"LETHAL WEAPON" (1987)

THIS STORY ISRESPECTFULLY DEDICATED TO THE MEN AND WOMEN OF THE LOS ANGELES

SALARY OF $26,000A YEAR, STRAP ONA GUN, WALK THE. STREETS,AND PRAY TO GOD THEY DON'T DIE PROTECTING THE REST OF US...

lies spread out beneath us in all its splendor, like a bargain basement Promised Land.

CAMERA SOARS, DIPS, WINDS its way SLOWLY DOWN, DOWN, bringing us IN OVER the city as we:

TITLES END, as we --

SPIRAL DOWN TOWARD a lush, high-rise apartment Coup 1éx. The moon reflected in glass. .

CAMERA. CONTINUES TO MOVE IN THROUGH:billowing curtains, INTO the inner sanctum of a penthouse apartment, and here, boys and girls, is where we lose our breath, because --

' spread-eagled on a sumptuous designer sofa lies the single most beautiful GIRL in the city. Blonde hair. A satin nightgown that positively glows. -.$am-.Cooke. MUSIC, crooningfromfivehundred dollar SPEAKERS.

PASTEL colors. Window walls. New wave furniture tor- tured into weird shapes. It looks like robots live here.

On the table next to the sleeping Venus lies an open bottle of pills... next to that, a mirror dusted with cocaine. . She ‘rouses herself to smear some powder on her gums. As she does, we see from her eyes that she is thoroughly, ' completely ‘whacked outof her mind...

-She: stands, stumbles across the room, pausing to glance at a photograph on the wall: Two men. Soldiers. Young, rough-hewn, arms around each

On the balcony railing beside her stand three potted plants.

The Girl sees them, picks one up. Looks over the balcony railing... It is ten stories down to the parking lot. She squints, holds the plant over the edge.

Drops the plant. Down it goes, spiralling end over end -~ until, finally... BAM -- ! SHATTERS. Dirt flies. A red Chevy is now minus a WINDSHIELD. The Girl takes another plant.|

She drops it. Green Dodge. Ten stories below, BAM --! Impact city. Scratch onepaint job. Grabs the final plant and holdsit out, saying: — .

DO ah+ POW. GLASS SHATTERS. Dirt sprays. A blue BMW this time. The Girl loves this game... her expression is NikRete slightly crazed. She reaches for another plant -- ealis tn There aren't any. Her smile fades --And for a moment, nita just amoment, the dullness leaves her eyes and she is suddenly, incredibly sober. And tears fill her eyes as she looks over the edge --

And jumps the railing. Plummets, head overheels like a rag doll. Hits the yellow car spot on. She lies, dead, like an extinguished dream. Stillbeautiful.

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. Scragely 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.

CONTINUED: | 2

He puffs on a cigarette. Glances up as an old blackman O) in awheelchair approaches the table. Meet JAKE, the bartender. Riggs looks like shit.

| RIGGS Yeah. (rubs.his eyes) This one's empty, better bring me another.

- JAKE Whatever you Say.

_RIGGS Thanks, Jake.

Riggs stands and heads for therestroom. 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. .

| . PUNKer Hey, brother.

PUNK #1 Yeah, brother, you got any money?

PUNK #1 Brother, you one smart motherfucker.

CONTINUED: | 3

| PUNK #1 Give it tome.

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

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

hak? PUNK#1 at :

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

Riggs sighs, shakes his head. Stands calmly. A moment, then -~-Calvin comes charging in, lowand hard. One minute Riggs is standing. The next his foot is flashing out likea 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.

oe RIGGS Okay. We through...? (beat) Stop now, or...?

OE EeST

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 intothe 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: .

‘AndRiggs 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.

He exits.

Palm trees cast shadowson the lawn. Toys, lots of them, littered across the lawn. A Big Wheel, aG.I. Joe . figure. Christmas lightsare strungacross the eaves.

A real gun, a .38Police 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

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

DETECTIVE ROGER MURTAUGH

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 pastthe 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.

11 - 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.

| CUT TO:

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 Murtaugh scurries to and fro, getting dressed:

She looks.

Carrie is still shrieking. Tears stream down her face.

: | NICK "Starsky and Hutch.'

| NICK Sure, Dad.

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

--He grabsa copyof Newsweek and hands it to her.

Starving children. See? They haven't eaten, it'svery Bad Cry.

He moves away.

oe TRISH ‘They're bright children.

‘telephone) Honey, you know a man named Dick: Lloyd? Don't step in the egg.

-(CONTINUED)

LETHAL WEAPON - Rev. 7/31/86 10.

() oe: MURTAUGH

I haven't talked to him in... shit, twelve years? No, wait a minute, that would make me fifty years old, that can't be right.

I never talked about him..

Yeah. Vietnam buddy.

He exits the kitchen, crosses the entrance hall. Stops, | noticing Rickles the cat, who is happily munching on the ‘remainsof 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 on . Oldest daughter Rianne. Jogging past. She wears an () adorable pair of dolphin shorts. Walkman headphones. * She waves. oO

_

ll.

‘Hewaves.

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 apretty 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:

Sergeant Martin Riggs is driving. He looks like he ett 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.

16 - EXT.. CENTURYCITY PARKING LOT -MORNING | 16:

The skythreatens rain. Cars buzz by as the city awakens.

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

COP #1 No.

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

-- No, the Chandler fucking . Pavillion, of course that fucking balcony, and then she jumped, and then I puked in a trash can. Can I go now?.

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

16 CONTINUED:

The sargedrives up andgets 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.

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.

; DIXIE You're hilarious.-:

She exits. Cop #2 escorts Murtaugh across the parking lot.

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

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

They stop next to the Porsche. Murtaugh grimaces.

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

COP #2 Lloyd. Amanda Lloyd. You know her...? |

Murtaugh looksstunned. He speaksvery slowly:

I knew her dad.

COP #2 Jesus. (anawkward pause) Vehicle isregistered to her. She landed right on top of her own car.

es MURTAUGH Find out who bought it forher. Her sugar daddy.

COP. #2 Take some looking into.

a LOREse parca aetna

LETHAL WEAPON - Rev. 7/31/86 15.

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.

Hello, honey...? Give me the number for Dick Lloyd. What...? Yes, the man who called me this morning. His daughter just took a dive out a window.

Two black-and-white police cars. Flashers spinning. Cops crouched behind the vehicles. On the beach a crowd of children cower ‘behindthe play- _ground equipment. This is serious, folks.

21 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.

21 CONTINUED: | 21

JACK

O

What fan club? Everyone thinks you're a psycho asshole.

| «RIGGS Duh. What's he doing?

JACK | Shooting at kids,what! s it look like?

Terrific. Seé you around.

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

-~-And stops dead. Turns, his eyes suddenly ice-cold.

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.

fre OTHER COP Sir... ?.

| RIGGS Did he go for specific kids? Or did he:.shootrandom?

_ OTHER COP (confused) Um, he... shot random.

Riggs loosens his holster.

“(CONTINUED)

CONTINUED: | 23

an OTHER COP i4x

Couldn't tell. But I don't think itwas scoped. What are you --?

Riggs suddenlywalks away. Calmly. Keeps walking, past the cops... past the police cars... and right,smack-dab into themiddle of the beach... into the lineof fire.

The other copsgo 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- SHOTBURST which kicks up a cloudof sandat Riges' 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 andgirls...

Clears his throat. Calls up to the window:

OTHER COPS | : 24

The expression "shitting bricks" springs tomind.

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... a

LETHAL WEAPON - Rev. 7/28/86 - d9,

25 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

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 after 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:

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

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

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 wantMartin Riggs pulled from duty.

| | MURPHY Um... no, | |

MURPHY» Very brave individual, don" t you think...?

This is utter bullshit.

_ PSYCHOLOGIST Martin Riggs is a copwith a death wish.

Murphy shoots her an incredulous Look.

LOnthe agate

* RED A PRR ee oth eee

aA sept doe tend zipratt|

; _MURPHY -~-Except we don't offer it to everybody, only cops who seem to suffer from --

LETHAL WEAPON - Rev. 7/28/86 22,

26 CONTINUED: (2) a 26

PSYCHOLOGIST | Yes, sir. Then we'll know.

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... . wo 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.

29 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.

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

anual The RAIN CONTINUES to hammer the lonely littlepit which Riggs calls home.

| CUT TO:

A zoo. A sign reads METRO ROBBERY /HOMICIDE.

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

McCASKEY See, you're behind the times, Sarge. —Guys in the Eighties

~ 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 criedin bed, so how's that?

McCASKEY No, I was alone, why the fuckyou 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 a down the hall, walking backwards ; a beat, and then he is. followed by four more cops Singing the world's shittiest rendition of "It CameUpon a Midnight Clear." It sounds

a

like pigs mating.

Burke approaches Murtaugh:

ay

BURKE | Got somenews on theLloyd case, Rog.

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

31 CONTINUED: (Al) 31

Jesus...

32 ANOTHER ANGLE 32

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

33 ACROSS ROOM ~ 33

Murtaugh slings on a jacket. Turns to go. Notices

34 MURTAUGH'S POV 34

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

35 BACK TO SCENE 35

He frowns, says:

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

35 CONTINUED: . 35

C> MURTAUGH | McCaskey, ifmy wife calls,tell

her latedinner.

Ho, Rog. I'm not through yet. I'm supposed to tell you two more

He is still lookingat Riggs, who is slowlywandering from desk to desk, smoking-- Stoppingnear the: deskwith the holstered gun. .

First, condition of the sheets and mattress indicate someonewas in bed with Amanda Lloyd just. before she died. That's A.

‘wiltin BURKE “ "B is, I'm supposed, totell you

you're breaking ina new partner on this.

‘NowMurtaugh is eyeballing Riggs. Cautious.

% | MURTAUGH Oh, perfect. Can I trade inmy % life for a new one?

At which point, across the room, Riggs removes thehol- stered gun and hefts its curiously. Suddenly allhell breaks loose:

| - MURTAUGH !Gun !!

so He bolts like a cheetah.

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

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.

LETHAL WEAPON - Rev. 7/28/86 26.

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:

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

a VISITOR Easy. Take it easy. (beat) ‘I'mgoing to light a match.

He does. Holds it near his face.

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

They move toward a door in the rear wall. mea

taSr

oo Se

LETHAL WEAPON - Rev. 7/31/86 27.

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.

7 GENERAL Yes, Joshua...? Ah, Mr. Mendez. Please, have a seat.

Joshua stands off to one side. Mendez sits.

| MENDEZ (under his breath) Where'd you get him? Psychos '‘R' Us? >

-GENERAL ‘Hardly.

Points to another merc.

MENDEZ ~ I like the sunglasses. Very Hollywood.

_..GENERAL Mr. Larch is” unfortunatelymissing ‘an eye. For anonymity's sake, he _ Choosesto forego wearing a patch.

a “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)

Ny

You're using mercenaries, for 'Chrissake. Tell me I'm wrong.

LETHAL WEAPON - Rev. 7/28/86 . 28. ¥*

“oot -- GENERAL

No. You're not wrong.

| GENERAL Joshua. Hold out your hand.

Joshua steps up to the General and extends his arm.

GENERAL| Give me your lighter.

Mendez frowns, cautiously hands a silver cigarette lighter to the General. 7 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. ‘Simplystands, trance-like.

| - MENDEZ Jesus...

foo I... yes. Sure. Jesus.

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

LETHAL WEAPON - Rev. 7/28/86 29.

37 CONTINUED:| (2) 37

38 OMITTED 38 *

&

39 39 *

Riggs and Murtaugh cruise through downtown Los Angeles. Riggs drives, while Murtaugh scowls. There is an awk- ward pause.

| RIGGS I try.

-MURTAUGH Assassin stuff?

| MURTAUGH And they gave you the | Congressional Medal of Honor.

LETHAL WEAPON - Rev. 7/28/86 . 30.

40 CONTINUED:

| RIGGS

It was a lean year.

| RIGGS Yes. I know.

MURTAUGH | Just thought I'd remind you. (beat) Check out your piece?

ao

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

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

some serious shit.

N piece. Wide ejection port, no eS | feed jams, no stovepipes.

Fifteen in the mag, one up the pipe. You.carry a wheelgun?

| RIGGS Lot of old-timers carry that.

Murtaugh shoots him a look. Replaces the gun.

MURTAUGH : File says you're registered with Newark P.D. as a lethal weapon.

etySereitNE“neoneRREeeee

O) 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.

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

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 sawe arlier in Amanda's photograph, standing next to Murtaugh. Now he looks like shit. He addresses Riggs and Murtaugh, who are seated in the office.

41 CONTINUED: . 41

() LLOYD

Murder...! But I thought...

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

| LLOYD (very far away) | ..- 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.

eeN MURTAUGH a Out of what?

Lloyd ‘turns,facing them. Intense:

, LLOYD When you find who did it, I want you to kill them. If it's more than one, I want you to kill all of them. Make them squirm first, take your time... and fucking kill them.

LETHAL WEAPON -Rev. 7/31/86 34.

C) MURTAUGH

I'm apolice officer,Dick.

Lloyd does not look up. Riggs andMurtaugh 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, startsto put it inhis mouth. Stops.

: RIGGS Whoops. Shit.

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, circlingthe filter. HM

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

fd 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:

: RIGGS He said you owed him. What did he mean?

aS | MURTAUGH S : We served together in '65. He

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

The RADIO SQUAWKS. Murtaugh TURNS it UP.

‘Murtaugh keys the hand mike.

( } | a RIGGS | a ve This is great. I love this job.

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

C) 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.

| PATROL COP Sitting in traffic.

; | PATROL COP a | Salesman name of MacCleary. Left

- the office party. Went upstairs and walked cut on the ledge.

Riggs clears his throat. Murtaugh turns.

A turns to go) oa ‘Hey. — (as Riggs stops)

No guns. No kung fu. Just... bring him in.

nin

LETHAL WEAPON - Rev. 7/28/86 - 37.

43 CONTINUED: = 43

Right.

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

Riggs appears on the roof. There, about five yards away, a 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.

; ‘RIGGS I m not a psychologist.

| - MacCLEARY. Yeah? What are you?

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

LETHAL WEAPON - Rev. 7/31/86 : : 38.

| 44 CONTINUED: - : 44

MacCLEARY (swallows) Len. Len MacCleary.

| - RIGGS — Thanks. ‘'Preciateit. (beat ) -

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

Riggs leans out farther, perches on the ledge. Absolutely

None of your goddamn business.

eS Riggs stands, steps out onto the narrow ledge. He seems unconcerned.

Don't come near me!

a MacCLEARY Touch me and I'll jump.

| 5 RIGGS I understand.

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

65 of this, you know. Everyone's got

problems.

- MacCLEARY You know shit. .

MacCLEARY You're breaking my heart.

Riggs takes out his wallet, flashes it at MacCleary.

MacCLEARY Nice....Fuck off.

He takes a step closer.

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

MacCLEARY Right. Only one hurt is me.

MacCLEARY No! | (beat) Dammit, keep away.

MacCLEARY

f

Don't try nothing.

&‘nat

MacCLEARY Right.

Riggs slowly steps up to the man. Shudders.

MacCLEARY Me, too.

You wanna smoke? (pullsout cigarettes) Let's smoke, okay?

-MacCLEARY Sure. .

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

MacCLEARY Hey...!

oe RIGGS Sorry. | (beat) See this. key?

He holds up the key to the cuffs. Flings itout into space.

RIGGS | We're together on this. You can go if you want. But you take me with you. Makes you a murderer.

MacCLEARY You bastard.

ceceweeshne“ann aan2ptatteae”canaanenesaeeearctalibropeataeweRS

45 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 aminute...!

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

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. ae

saae

CONTINUED: (4) 45

Did I sayupset? Imeant enraged. He grabsRiggs, slams him againstthe wall. Tries to grabhis collar. Riggs" hand shootsout. Lightning fast. StopsMurtaugh's hand. Stops it cold. They stare into each other's eyes.

Murtaugh will not back down.

MURTAUGH , What the fuck did you just‘do???

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

-MURTAUGH Okay, turkey, no bulishit. Do you want to kill yourself?

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

Murtaugh looks at him. Nods. <Amoment, then: yi Ne MURTAUGH

You want to die.

43,

45 CONTINUED: (5) oe 45

A pause. Riggs looks at the gun.

He offers the gunto Riggs.

Riggs smiles, takes the gun without missing a beat. Puts it tohis head. CLICK -- ! The hammer is cocked. Murtaugh andRiggs stare each other down. Tense. Reading each other.

Meanwhile, in theb.g., pedestrians are diving for cover. Murtaugh and Riggs are oblivious. Riggs puts the gun under his chin.

RIGGS _. Under the chin'sjust as good.

They stare at each other. Riggs' finger beginsto tighten on the trigger. Turns waits with pressure. It looks like he's go do At the last second, Murtaugh fans “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.

VY

(beat) You're really crazy...

LETHAL WEAPON - Rev. 7/28/86 44.

45 CONTINUED: (6) oe : 45

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

INTERCUT:

47 ROGER MURTAUGH en 47

ess) Standing .ata pay phone, listening. He nods: ww

‘MURTAUGH Thank you, Doctor. Youve been very helpful.

He hangs up. Rubs his eyes tiredly and says:

| MURTAUGH I'm too old for this shit.

-Murtaugh is driving. Beside him, Riggs stares out the window, impassive. A strained Silence. Then:

C) MURTAUGH

Beverly Hills. We got an address on Amanda Lloyd's sugar daddy.

The guy who paid for the apartment and the car.

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

The kind ofhouse 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 swimmingpool inside. This is a really great place tohave sex.

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

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

51 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. oy

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.

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. | * C) * Makes come-hither gestures.

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

55 BACK TO SCENE 55

Murtaugh scowls, turns to Riggs.

—)

55 CONTINUED: : - 55

| RIGGS What am I, chopped liver?

Murtaugh looks at him. Sighs.

He grins cheesily.

56 ‘EXT. SOLARIUM , : 56

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

Murtaugh takes a deep breath. Kicks open the door.

MURTAUGH | olice. old j i th .

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 hisshoulder. Murtaugh says to Riggs:

57 CONTINUED:

RIGGS

C)

No fair, the building guy lived.

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 gunwith 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 thebottom. Murtaugh looks on, wild-eyed. On the bottom of the pool is a vinyl tomb. Murtaugh dives in. Swims to thebottom. Yanks, and strains, but we all know it'sno fucking use. The vinyl stops moving. Murtaugh stares... and then he gives up. Surfaces at the sideof thepool, gasping and wheezing. Riggs kneels down beside him.

Murtaugh stares daggers at him.

LETHAL WEAPON - Rev. 7/28/86 : AY,

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 Corres You have no idea.

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

| CARRIE Hi, Daddy. Is that a crook?

No, honey, this is Martin, my partner, | (scoops her up; hugs her) Tell Martin what you think of crooks. .

| CARRIE Buttheads. (giggles) They 'rebuttheads.

CARRIE | Daddy, Mommy says you hate her cooking.

Tell Mommy hate is a mild word.

Trish is cooking as the two cops enter.

LETHAL WEAPON - Rev. 7/28/86 - 50.

60 CONTINUED: - a 60

C) MURTAUGH

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

| TRISH | Sure. Roast okay with you, Martin?

, - RIGGS Fine. oe a

al TRISH

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.

LETHAL WEAPON - Rev. 7/28/86 - 81,

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 | ee daughter. Nice shoes.

: MURTAUGH Absolutely. How much they cost?

| RIANNE: ‘Right.

| MURTAUGH You wear them on your feet.

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

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

| RIGGS This isgood. I like this.

Nick looks athim 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 inmany @ longyear.

ACROSS THE TABLE. | ore 624

We notice something kind ofneat: Rianne simply cannot take her eyes offRiggs. She stares at him, in a trance. Her brother NICK nudges her in the ribs. She pulls a face.

MURTAUGH _ 62B

Has also noticed his daughter's attentions, andyou can bet he's not all. thathappyabout it.

Dinner is over, and Riggs and Murtaugh sip drinks. They are alone. Riggs lights: asmoke, carefully avoidingthe "last cigarette."

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

ae

| (CONTINUED)

LETHAL WEAPON - Rev. 7/28/86 +53,

63 CONTINUED: (A1) 7 : | 63

MURTAUGH | ¥e Fair enough. So who did the girl? *

| RIGGS | | % Tell you tomorrow. *

Rianne suddenly appears.

54,

| RIANNE The blond one.

MURTAUGH | Are you kidding? When he smiles I can see through his head. The answer is no. End of story.

-RIANNE I hate you.

Riggs exits, wearing his coat. Murtaugh stands on the porch.

| | MURTAUGH Thanks.

A pause. Riggs stands there. Then:

ea, Or yourself. Then I'll start

trusting you. |

(CONTINUED)|

He walks toward his car. Stops.

: MURTAUGH Do what?

| RIGGS 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. thecurb. The Hooker approaches.

| RIGGS Aren't we all?

She does. Closes the door.

RIGGS “ Younger the better. How old are ed you?

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

He drives away from the curb.

fixes a sandwich in the kitchen. Rickles the CAT PURRS, rubs against his leg.

He kicks it aside. Notices a package on the counter,» together 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 arn plastic gun, made in Taiwan. Tiny plastic badge. Murtaugh smiles. Notices another package next to it. Frowns. Its label reads: ROGER MURTAUGH: POLICE EVIDENCE.

ea

ceccanmiet

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

vei

\ 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.

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. 7 |

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...

71 ‘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 mA % frowns. ie

firee wine winaica ceelanWalonmw8 deesien mL dene

LETHAL WEAPON ~-Rev. 9/3/86 | — 58.

CONTINUED: zo | | 71

| MURTAUGH

Murtaugh just stares at him.

Murtaugh grimaces.

gag MURTAUGH Do you know what time it is...? emt me ie RIGGS _ Day time? simmer ewe MURTAUGH I 11 get dressed. |

| CUT TO:

Y nec

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

| RIGGS Heinz.

LETHAL WEAPON - Rev. 9/3/86 | 59,

Riggs looks to Trish.

Riggs leans forward.

Roger.

MURTAUGH© Yeah.

| -MURTAUGH» Dixie.

What's a hooker?|

_- MURTAUGH Shh, quiet, I'm combatting crime.

_ .MURTAUGH -- ormurder -—

RIGGS | -<+-right, or murder, and my question is... what is she doing there? TI - called Wilshire Vice, that's not her usual turf.

RIGGS

New

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

LETHAL WEAPON - Rev. 9/3/86 59A. *

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

Okay, go for it. I'm listening.

| CUT TO:

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:

; RIGGS Right. ‘Til now we assumed it was a man. Coes

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

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

73 CONTINUED: (Al) — | 73

/ - RIGGS Or Dixie pushes her. Either way --

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

73 CONTINUED: fees - 73

~) | eae RIGGS

Right. She actually stops and says, ‘'Shit.'

Or, ‘Damn.’ MURTAUGH

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

a) | MURTAUGH pad | (sighs)

RIGGS | Very thin.

_MURTAUGH (smiles) a Hell with it. Thin's my middle name. | _ |

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.

73 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.

Hey-hey. Would'ja look at that? Pretty good for an old man.

Riggs ‘shrugs. Draws. FIRES. He isn't evenlooking. Nonetheless. -- He puts a magnum: roundright 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.

74 OMITTED = ee ae 74

Murtaugh's car glides up to the curb. In front of a row of neat frame houses. Old neighborhood. Late model ears. A LITILE black KID playing on the sidewalk.

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, obviouslypleased 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 thewalk. As they do -- The HOUSE suddenly EXPLODES. It BLOWS APART concussively. There is a flash of light, a loud, flatBANG --! 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. .

LETHAL WEAPON -Rev. 7/28/86 . | 63.

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. - (helooks under | the sheet) Jesus. | oe

ATTENDANT| We're hoping to find someteeth in there. Otherwise, couldbe anybody. Black, white... Could be a fuckin' bowl of soup,for -all.we--

Okay, okay.

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

V7 ANOTHER ANGLE 77

Martin Riggs is examining a twisted hunk of metal as. Murtaugh walks up beside him.

| MURTAUGH

Swell. I'm glad you liked it.

RIGGS — C.I.A. used to hire mercs who used this same setup. Mercury switches.

Murtaugh frowns. A PATROL COP. tapshim 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.

Riggs and-Murtaugh stand by the rear of thetruck. 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..

COP: Okay, here it is. The little kid says he saw.someone working on the meter this morning.

-MURTAUGH Where? —

78 CONTINUED:

He crosses to the boy.

MURTAUGH

vos Hi. I'm Detective Murtaugh. What's

your name?

He stares at Murtaugh with eyes like saucers.

-MURTAUGH - How old are you, Alfred?

Alfred nods.

Se

Do you kill people?

ALFRED —. Momma says policeman shoot black 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?

The kid looks at him. Distrust.

- MURTAUGH ‘Keep it, it's yours. Official detective. |

Alfred nods, grins.

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

MURTAUGH| I want you to draw him for me.

78 _CONTINUED: (3) 78

() - ALFRED

I'm a good drawer.

Riggs clears his throat. Rolls his eyes.

MURTAUGH — Very funny.

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.

ee eee | TIME cur:

79 ANOTHER ANGLE oe 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. x5 | ELON

-(CONTINUED)

(ieee.ei

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

Riggs is hooting. Murtaugh shows the picture to Alfred.

| ALFRED Yeah.

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

ALFRED — He had it on his arm.

Riggs stops laughing. Moves in closer.

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

‘

%Noe

) ALFRED

No. It was pained.

-MURTAUGH Pained.

‘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. eyesgo wide once again. He points at Riggs’ arm.

The cops stop, puzzled.

| RIGGS You're sure?

Alfred nods. The cops exchange glances:

LETHAL WEAPON - Rev. 7/28/86 | 70.

79 CONTINUED: (3) S 79

O) MURTAUGH

Martin.

A sprawling, expensive villa nestled on the side of a bluff overlooking the ocean. Terraces, verandahs, gazebos. Architecture that merits three syllables. The ocean looks cheap by comparison. A memorial service is in progress. -Agroup of people, mostly young, friends of Amanda Lloyd; all are dressed in funeral black.

81 "NEARBY --_ Ee | gt

Martin Riggs is collapsed in a lawn. chair, smoking and looking thoroughly out of place. Seeing the girl, he frowns... puffs on his cigarette, and rolls a quarter over his knuckles like a stage magician. Nimble, trained fingers. A thoroughly unconscious habit.

82 ANOTHER ANGLE a : | | 82

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. .

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

Tell you about what?

(stops; startled) Hey. Take it easy, man.

MURTAUGH | You tell me. You were gonna spill your guts. So they killed your daughter. Tell me I'm wrong.

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

- LLOYD—

Sd your daughter. Talk to me!

C) “Lloyd shoots a desperate glance across the lawn. At his_ other daughter, Amanda’ stwin.

| 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...

ii formed a plan. 5‘.Nae

oe LLOYD

Couple of years ago, Shadow Company got together again. The war was over, but we still had a list of sources. In Asia.

Lloyd does not reply. A pause, then:

| | _ LLOYD They can't. They need me.

MURTAUGH| The tax report...?

fos”essencenin cs

74,

83. CONTINUED: (2) 83

Tell me about the next shipment.

Murtaugh grabs a framed picture of Amanda, slams it ‘downon a wooden butcher block. The GLASS SHATTERS. Lloyd stares.

| MURTAUGH Tell me!!!

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.

cae MURTAUGH © Oh, swell. Good move.

Murtaugh does not budge. Lloyd cocks the hammer.

| LLOYD The gun is silenced, Roger.

Murtaugh stares him down. Eyes like fire. VL

83 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 cartonof 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.

- . LLOYD © Roger -- !

With his dying breath, he leaps in front of Murtaugh. Takes the SECOND BULLET. The one meant for Murtaugh. It blows. himinto 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!ttt-

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 ae¥5ae” 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.

85 BACK INSIDE - 85

-Murtaugh is at thewindow. Gunpointed.

86 MURTAUGH'S POV oe 86

reveals a crowd of people,milling back and forth,he has no ideawhere the sniper is, and suddenlyBAM -- ! The wood blows out not two inches fromhis head andhe ducks, and meanwhile --back outside...

87 MARTIN RIGGS 87

is on the move. He jogs... trots... runs... Noticing a lone man in black, stridingquickly across the lawn, striding into the crowd... toward theedge of thebluff... 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.

88 MURTAUGH | 88

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

89 RIGGS | | 89

Gun out... moving fast, shoving through the crowd, people screaming now, "Jesus, he's got a gun -- !" Running 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 -- 7

90 JOSHUA os 9

“moving.ata .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:

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

\ 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'snot nailed down..

Screaming, chaos, frenzy. Three words that apply tothis scene.

And in the midst of all this -- Joshua steps onto the chopper and is hauled inside. . No expression. The total professional. cee And then, my friends, it'sbye-bye time. The CHOPPER ROARS likea 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. offiberglass, but nossir, no cigar... "causethe damn chopper flies away.

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

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

Riges 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 continuesto follow its course out over the sea.

Hands, clutching the barrel. Finally, they relax. Riggs shuts his eyes. Murtaugh stares.

90 CONTINUED: (2) oo | 90

le MURTAUGH

You through?

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

Joshua and his pilot are cruising over the surf atbreak- neck speed, the rotor stirringtiny geysers ofwater. Joshua speaks into a radio microphone.

a JOSHUA Yes, sir... Yes, sir, Mr. Lloyd is dead. I'm afraid, however, that another problem exists.

In his van, speaking on mobile phone.

- JOSHUA Lloyd spoke to the cops, sir.

No, sir. I missed.

There is a significant pause. Joshua lickshis lips. _Then:

Ly

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:

-RIANNE Mark, I gotta get home.

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

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

She takes out her gum and sticks it to the steering wheel. ve Leans over to kiss him again -- . *

94A FACE ee | 944A *

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.

LETHAL WEAPON - Rev. 7/28/86 | 80, *

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, LATING RUBBER. The ECHO of gunfire slowly FADES on the wind...

96 INSIDE DARKENED STORE | | «96

Riggs lies crumpled in apool 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.

| RIGGS Roger. Quit looking so damn ‘worried. I'm fine.

He takes out a pack, lights one up.

MURTAUGH | Jesus...! You sure?

(CONTINUED )

LETHAL WEAPON - Rev. 7/28/86 81.

cy) a a RIGGS

I never forget an asshole.

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

_MURTAUGH | Hilarious. What do we really do?

RIGGS _ Exactly.

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.

LETHAL WEAPON - Rev. 7/28/86 82.

96A CONTINUED: (2) 964A *

_big dimples?|

There is a long pause. Then: |

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

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

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 messagein 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.

: . MURTAUGH Bastards...bastards...

Riggs looks on, stunned. The TELEPHONE RINGS. RINGS i again. aan

‘Noe

RIGGS— Roger.

LETHAL WEAPON -Rev. 7/31/86 83.

97 CONTINUED: oe 97

Murtaugh looksup. Snapsout of it. Down thehall, his wife Trish moves to answerthe phone.

He rushes down the hall, scoopsup the receiver:

He listens intently, a lookof pure dread.on his face. Hangs up slowly, stares straight ahead. On the table, a stuffed bear staresback impassively. Trish Murtaugh “lookson, terrified.

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

Beside. him,Riggs’. face contorts into a look of sheer, brutal hatred... Get ready forWorld War Three.

McCaskey is seated next to a bank of telephones, smoking and reading a comicbook. Behind him the fat copwe saw earlier is conductinghis choir in a thoroughlyhideous version of "Deck theHalls." The PHONE RINGS.

| McCASKEY McCaskey,, Homicide-- just a '.moment,please -- Hey, will you guys for Chrissakesshut_up??. Yes, canI help you?

so INTERCUT - McCASKEY AND MR. JOSHUA ee 99

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

wrk

LETHAL WEAPON - Rev. 7/31/86 83A.

99 CONTINUED: (AL) 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.

«JOSHUA He may not talk. —

_GENERAL | We have his little girl. He'll talk.

Trish Murtaugh looks like she could come apart at any moment. -'Shewalks around the bedroom, slowly. Touching things. Touching her daughter's possessions.

-Murtaugh enters. They look at. each other. He hands her the 22.

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

A moment. Then: +

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

101 CONTINUED: © | | 101

%

Murtaugh says nothing.

+

%

Riggs has his shirt off, and is carefully removing slivers of glass from his shoulder. Cigarette dangling from his lips. eS

He hears a noise -- And spins, startled.

103 RIGGS' POV - SIX-YEAR-OLD CARRIE MURTAUGH oe 103

Adorable in a blue. nightgown, Rickles the cat cradled 7 lovingly in her arms. | | 7 ¥

Riggs relaxes. Smiles. Carrie walks over to him. Capen BE *

He scoops her up.

Carrie looks at him then. And she does a peculiar thing.

~e

Slowly, she reaches out... Riggs looking on... ; And touches his back. Runs her tiny hand over the knife * scar beneath his shoulder. . * Fascinated by it. — | | * f agacenel CARRIE oN Ouch.

LETHAL WEAPON -Rev. 7/28/86 | 86/87.

103 CONTINUED: | a a | 103

Riggs looks at her. Smiles, and whispers softly:

And he suddenly hugs the littlegirl for all he's worth. Closes his eyes tight. | %

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

Carrie is asleep on the couch, snuggled beneath aknitted afghan. Riggs and Murtaugh stand across the room, con- ferring in hushed tones.

104 CONTINUED: | | 104 a a, oy RIGGS

You want her back, you've got to take her away from them.

| MURTAUGH I won't miss.

A pause. 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... |

oo | MURTAUGH

... How... good are you...?

‘RIGGS What?

There is a pause. Then:

| - RIGGS No one can touch me.

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

We see grim determination, sure...

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

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

Cc) 3 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.

105 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:

107 ANOTHER ANGLE. _ | | 7 107

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...

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

107 CONTINUED: dee 107

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

| | VOICE (0.S8.) 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 Hollow points. Armor piercing.

| RIGGS _ (nods) You weren't Followed? |

- No. :

Riggs begins scooping up handfuls of ammo.

Murtaugh is hooking a wire in place under his collar.

He straps on his hunting knife.

| RIGGS It's twelve-thirty. Let's move.

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

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

RTGS | Thousand yards okay...?

The desert. floorshimmers with stored heat, bathed in relentless sunlight.

LETHAL WEAPON - Rev. 7/28/86 ~ 91,

L109 CONTINUED: 109 e 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.

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

‘Murtaugh?— .

: MURTAUGH Yes. (beat) I'm alone.

we

112 CONTINUED: | | 112

MERC #1 Hands up. Come with us.

| MURTAUGH Show me the girl.

MERC #1 She'snot here.

‘The.Merenods.

113 VAN | | 113

comes AT US from across thedesert. .

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

MERC #1

il

He wants to see the girl.

115 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'’seyes fill with ‘tears. Relief that she's alive.

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.

L115 CONTINUED: | 115

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

-MR.JOSHUA Take him.

MERC #1 But sir...

- MURTAUGH Don't push me. : ,

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.

117 INFRA-RED IMAGE SHOWS RIANNE AND HER CAPTOR - 117 a

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

118 BACK WITH: MURTAUGH me 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...

L19 ON HILLTOP | | 119 See” Riggs sits dead still, focusing through the sniper scope.

94,

\ Af RIGGS

Come on...Move away from the girl...

120 MURTAUGH 120

Joshua stops infront ofMurtaugh. Cocks the gun.

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

121 ON HILL 121 |

Riggs grunts. FIRES.

oo 122 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 --

123 ON HILLTOP | | 123

Riges swivels the barrel, half an inch. Grunts. FIRES.

124 DOWN BELOW | 124

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

125 GRENADE 125 ey chooses that moment to EXPLODE, poof...! into a cloud of orange smoke. A shower of confetti.

X JOSHUA

Dud! It's a dud!

126 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.

127 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 cong et ousand takes aim through the ‘windshield, right at her.

128 ON HILL 128

Riggs swivels, lightning quick.

Grunts. FIRES.

129 MERC ON HOOD | | 129

is blown off the car.

130 RIANNE ae a 130

sereams, the dead driver sprawled against one shoulder, her.foot nailed to the. gaspedal... as the car leaps like a kicked dog and careens off into the desert.

131 ON HILLTOP | . | 131

Riggs lines up for another shot -- And there is a soft 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.

131 CONTINUED: a 131

132 ON DESERT FLOOR . j 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 forbreath. Raises his hands. As the smoke clears, Mr. Joshua approaches like a demon through fog. ‘He is flanked by twomercs with Uzis.

133 ON HILLTOP | | 133

Riggs stands, hands overhead. The General studies him thoughtfully.

-RIGGS ~ Yeah. It’ 11 almost be ashame When I kill you. —

134 DESERT FLOOR | | | 134

Mr. Joshua says to Murtaugh:

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

LETHAL WEAPON - Rev. 7/28/86 O77,

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 helicopter.

Rianne swerves to a halt toavoid 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 IN:

Riges 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. |

aoe JOSHUA | Well, well. Look who's back from ‘thedead. ,

| Riges struggles against. the manacles, slopping water.

os | JOSHUA _ Please save your strength. I believe you'll need it.

Riggs stops moving. Scowls at Joshua and says nothing. * Joshua smiles. | : : *

JOSHUA * You're just in time for a lot of * pain. | * | ¥e RIGGS

cet

I'm thrilled.

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

oe JOSHUA Oh, you will be. I daresay you'll be... shocked.

Kendo snickers in thecorner.

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

Across theroom, Kendothrows a switch.. A mechanical HUMMING fills the room.

LETHAL WEAPON - Rev. 7/28/86 | - 99,

| _. 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-cellbattery casing... Joshua frowns at Riggs.

Joshua nods. Sighs.

| RIGGS Please, no tickling. I hate tickling.

LETHAL WEAPON - Rev. 7/28/86. 100.

136 CONTINUED: (3) ae 136

CO) Riggs is silent. :

JOSHUA | I thought you'd like it. I can, of course, kill you now. Simply tell me what you know.

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

‘JOSHUA Feel ‘freeto scream. |

— | “Kendo hits Riggs with the sponge. Riggs screams. A

scream. . |

high, lunatic

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.

oe 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...?

a Kendo dunks the battery. Run it down Riges' stomach. He Screams again, as we mercifully...

LETHAL WEAPON -Rev. 7/28/86 101.

137 OMITTED 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 somethinghis wife makes for dinner. Black eyes. Swollenjaw. 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| c (sighs) I hope you enjoy saying that as much asMr. Larch enjoys punishing you for it.

MR. LARCH, a big redneck with no discernible compassion, steps forward. Pours abig handful of baking salt from a container. Packs it intoRoger Murtaugh's gunshot wound. Murtaugh groans. ‘Shouts. Struggles.

Ki

The General looks on without blinking.

That ' sit...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: ‘

KENDO | He knows shit. We're safe.

_ JOSHUA Fine. . _(clucks in disgust) Big, bad soldier...my ass. (beat) I'm going upstairs. Dealwith him.

He exits. |

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

( 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 in a T-shirt and bikini briefs.

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

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

Bastards... Untie me and I'll kill every one of you.

on GENERAL ‘Preciselywhy we would never think of untying you.

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

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.

( CONTINUED)

LETHAL WEAPON - Rev. 7/28/86 . - 104,

141 CONTINUED: _ | : 141

Nae KENDO

You die now, Sergeant Riggs. -Very slow.

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 — as 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 ispulled 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.

Good Lord. Very wholesome- looking girl. Yessirreee.

Larch approaches Rianne. ‘Shesquirms.

| | MURTAUGH No!! | (beat) You touch her, you're dead.

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

L105.

CONTINUED: 142

LC) GENERAL

Mr. Larch... She's yours.

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. .

RIGGS| Work your circulation.

,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.

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

ad EXT. HALLWAY - SAME.TIME | ae 143

The three of them.

LETHAL WEAPON - Rev. 7/28/86 — -106.

143 CONTINUED: | | 143

On the run, moving hard and fast. They scramble down the hallway, Riggs in the lead, as -- a-merc 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. Clatters. Riggs stops instantly. He knows the sound. — Spins. Dives. Scoops up the GRENDADE and chucks it with -all his might. It bounces— downstairsand EXPLODES at the foot of the steps. |

Joshua skids to a halt next to a sedan.

%

He slams the door and ROARS off down Hollywood Boulevard.

4%

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 shoveshisdaughter back as Joshua FIRES out the window of the car. BULLETS lash the pave- ment. The crowd shrieks. The CAR SCREECHES away.

145 ANOTHER ANGLE - | Vinee: | | 145

A beat cop comes running up, and Murtaugh shoves Rianne in his direction. Flashes his badge.

| -MURTAUGH| Get :her out . of here.

go funning after the car. Side by side. Beaten. Bloody. Naked from the waist up. Murtaugh FIRING his PISTOL. Shot after blazing shot. |

146 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 lineof 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...

147 _BENEATH HIM ae 7 coe : 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.

148 ANOTHER ANGLE 148 Pinan?}eed 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: 3 Ee | 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. ._Heis a fucking juggernaut.

149 UP AHEAD es | | 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

~-one scanningthrough 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. theexact 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.

150. 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.

‘COP Right over there.

He points -- and suddenly frowns: |There is no one_ there. Murtaugh is gone. Nowhere to be seen.

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

So 152 EXT. BACK ALLEY - SAME TIME : | 152

A sleek black VAN careens around the corner.

L52A INT. VAN 152A

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

152B 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.

153 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 tofoot, 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 Meresprouts 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 © a\o day.

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

The Merc's corpse, sprawled over thesteering column... ¥ with a shiny metal GRENADE attached to his belt. * Flames dance around the grenade. | *

153C ANOTHER ANGLE | 153c *

The General squirms, strains, yanks for all he's worth... * Fingers reaching out for thegrenade... * Flames burning his outstretched hand... *

And it is, as they say, all shewrote. *

'-Murtaugh is walking like azombie. Away from the VAN. Gun held loosely at his side. Suddenly -- It. BLOWSsky high. A tower of fire. Blows Murtaugh flat. Knocks him ass over teacups. ECHOES down the street. Turns night into day forone 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 --

155 HEROIN 155

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

156 MURTAUGH 156

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

157 MARTIN RIGGS | | | 157

Stands next to him. Cops swarm behind them. The heroin snow continuesto fall. The wreck burns. Riggs looks at Murtaugh. Murtaugh looksat Riggs. Thetwo most physi- cally abused men in filmhistory. |

| MURTAUGH Well, shit.

- MURTAUGH Joshua?

i MURTAUGH Uh-huh. First thing we gotta do is check on my house. : (beat). I got a bad feeling...

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- é 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.

-(CONTINUED)

lll.

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 ‘-holdsa: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. oe,

162 SERIES OF SHOTS Fee) 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'tvisited. Living.room. It too, is empty. There is a note, however. Taped to theChristmas 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.

LETHAL WEAPON - Rev. 7/28/86 112.

162 CONTINUED: a 162

a, 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. |

163 ANOTHER ANGLE Se 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.

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:

Come on, ace. (beat) Try me. -

LETHAL WEAPON - Rev. 7/28/86 | 113.0

163 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

And so it begins. They start to circle.

Riges 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.

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

165 JOSHUA - 165

Shifting From leg to leg, floating his balance.

166 MURTAUGH 7 | 166

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

167 RIGGS AND JOSHUA ~~ | 167

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

Riggs shifts. Blinks. And:

168 JOSHUA : 168

springs...! Foot coming out like a shot, Riggs jerking back, inches -- meanwhile, Riggs -- countermove, spins, tries a back kick, no dice... Joshua no longer there, where is he...? Shit -- ! Comes up, darts a punch to Rigges'neck -- Riggs fields it, snap -- ! Doesn't see the leg. It comes out of nowhere.

| (CONTINUED)

LETHAL WEAPON - Rev. 7/28/86 - 114,

168 CONTINUED: om | 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... |

169 MURTAUGH OSS | , 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... ; 7

: JOSHUA That's it, Martin... your body wants to go into shock... but you won't let it, will you...?

He launches ‘himselfat 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.

LETHAL WEAPON - Rev. 7/28/86 | - 1s.

169 CONTINUED: _ ot eae | 169

C) Slamshis head intoJoshua's busted nose. POP... ! Does it again. Joshua, hammering the broken arm. Pow. * (Scream) Pow. (Scream)...Until, son of abitch... The pain is simply too intense... nothing human can withstand it, they fall away, staggering,wrenching to a shakyhalt, facing one another, standoff...Exhausted, limping, hardly * able to speak...

170 POLICE CARS oe 170

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

171 RIGGS Cenc aes : : 471

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.

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 isno 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.weknow 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.

o RIGGS Last chance. Walk away.

| JOSHUA Fuck yourself.

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.

L71 CONTINUED: 171

There is a sick-sounding CRACK --And Joshua isdead before he hits the ground. Riggs hovers overthe corpse... breathing spastic, salivadripping fromhis lips... takes a handkerchief, wipes his hand, andsays:

4 RIGGS You lose.

At which point, he collapses likea sack of grain.

172 ‘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... |

173. ON GROUND 173

Riggs looks at Murtaugh. Murtaugh looks at Ripes.

Riggs throws him a look.

-RIGGS S'all right. (beat) I got good news and bad news.

MURTAUGH| What's the bad news?

Riges grimaces in pain.

|

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

173 CONTINUED: | : | 173

| RIGGS _ ...Bad news is, I'mstill alive...

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

Christmas carolers sing outside at roadside. A big banner screamsMERRY CHRISTMAS topassing cars. Christ- mas lights. Tinsel. Murtaugh andRiggs stand on the - sidewalk,huddled against the chill. Riggs stands, braced on one crutch. Arm ina sling. Their breath plumes out in frontof them. |

: MURTAUGH So.

| RIGGS

-MURTAUGH There are worse things than a psych pension.

“RIGGS Guess not. a (beat ) '. The Departmentthinks I'mwild. I don't belong anymore. Not here. pen

| MURTAUGH My son would come see you.

a RIGGS

He'd be the only one.

| MURTAUGH This... is a bad oldworld, isn't it?

Murtaugh looks at him.

| -RIGGS You're too old to change now, Colchise.

at ee aon aah Anaswi Sena

-RIGGS You just hang in there.- a

Yeah. You, too.

Guess I'll sa eeoodygoodbye.

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 frontof him. The same Punk who Riggs beat the shitout of at thevery beginning of the film. |

| PUNK

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:

Ch ‘dickless. — |

RAIN pours down. Martin Riggs stands over a lonegrave. 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.

The rains starts to fall. Riggs is oblivious.

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

LETHAL WEAPON - Rev. 7/31/86 120.

L177 FRONT DOOR | 177

stands young Rianne. Adorable. She looks up at the visitor... It is Martin Riggs.

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

Give that to your dad. It's a present. Tell him I won't be . needing them anymore.

Rianne nods.

Okay. You wanna come in? We're building. —

Riggs thinks it over. Shakes his head:

-RIANNE : - Okay. . ers

Riggs turns to go. Rianne stops him: |

RIANNE > | They say you're the best.

Beat. He stops. Turns and looks at her.

Rianne blushes.

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

PemamyAtPeYECNAneittAAHn

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:

He smiles.

Murtaugh smiles.

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