"LETHAL WEAPON 2" (1989)

~& United 747 barrels down the runway. It lifts off and passes overhead with a DEAFENING ROAR. And thats when .. .

MARTIN RIGGS STEPS INTO FRAME He looks up at the underbelly of the jet. So low that he could count the rivets. Except Riggs doesn't appear to be in any shape to count anything. Unshaven. Hair matted. A grease-stained baseball cap pulled down low to keep the sun out of his blood-shot eyes. He raises a brown paper bag to his lips. Heaven help us . . . Riggs is back in the bottle.

ANOTHER PART OF THE REMOTE AREA

where a MERCEDES LIMO pulls up to a GULFSTREAM JET. The Gulfstream's engines are REVVING in preparation of take off.

MARTIN RIGGS

staggering drunkenly through the weeds and tall grass that fringe this remote section of the airport.

Behind him, a Delta 727 touches down. Wheels SLAMMING against the runway; brakes SQUEALING; jet engines SCREAMING in reverse thrust.

THE MERCEDES AND THE GULFSTREAM

FOUR MEN emerge from the Mercedes. South Africans. HANS, PETER, KARL and ROLF.

Karl pops open the trunk and SEVERAL SUITCASES are quickly unloaded and placed on the tarmac beside the Mercedes

Peter's eyes dart furtively behind his black-out shades. Karl SHUTS the Mercedes trunk lid. Hans picks up two of the suitcases and takes a step toward the Gulfstream -- then stops abruptly.

Why? Because a drunk is weaving towards them.

Riggs rolls his eyes. Takes another hit from the bottle in the brown paper sack. Licks his lips. Stumbles. Regains his balance. Advances toward the men.

The South Africans exchange a look, then Hans moves forward to intercept Riggs.

HANS

Hey, buddy. Where you going? RIGGS (speech slurred)

Anybody seen a dog? Lookin' for my dog. Ran off and got lost. Maybe you seen him? A brown dog? Four legs . . . one tail. Face like this -~

Riggs contorts his face into a weird expression.

Hans spins Riggs around, points him in the opposite direction and gives him a shove.

HANS

Go sleep it off somewhere.

Riggs takes several wobbly steps, then stops -- bends at the waist -- appears to PUKE his guts out. Hans grimaces. And that's when...

A FORD BRONCO ROARS INTO THE SCENE

Brakes SQUEALING as it skids up to The South Africans turn to look -- that something has gone very wrong

the Gulfstream. knowing instantly for them.

CAMERA PUSHES IN ON RIGGS‘ BACK

as Riggs straightens up and spins around. . . eyes

clear and alive; wider than hell -~ nostrils flaring

-- arm extended, gripping a silver NINE MILLIMETER BERETTA that flashes in the midday sun. This is one very dangerous, and very sober cop we have here.

AN UNMARKED POLICE SEDAN

SKIDS up from another direction. ROGER MURTAUGH leaps out with his pistol drawn. Riggs regards Murtaugh with an expression that is hardly welcoming.

Riggs sticks a hand under his shirt with a. disgusted expression and YANKS out the WIRE he's been wearing.

THREE COPS

have jumped from the Ford Bronco with service revolvers drawn. They wear jeans and distinctive satin jackets that have "L.A.P.D DRUG ENFORCEMENT" lettered on the back. We'll see these guys again. Their names are: TIM CAVANAUGH, GARY PRICE and TOM WYLER.

They rush toward the flummoxed South Africans ... but here's something they didn't count on:

GUN. A rapid BURST OF FIRE scatters the Drug Cops. They dive behind the Bronco for cover.

Now things happen fast -~

Riggs ROLLS beneath the Gulfstream, behind the landing gear.

Murtaugh DROPS down behind his Sedan, FIRING off several ROUNDS.

Hans grabs a suitcase, RUNS up the boarding steps and disappears into the Gulfstream.

The other South Africans produce weapons from beneath their coats and BLAST their way back into the Mercedes.

The Drug Cops are pinned down by UZI GUNFIRE. Murtaugh tries to nail the Pilot -- but only succeeds in drawing

his fire. The Pilot SPRAYS THE UZI in Murtaugh's direction. Murtaugh ducks behind his Sedan as bullets RIP THROUGH

the car's HOOD and GRILL.

RIGGS

crouches low under the Gulfstream‘'s fuselage, working his way toward the front. The REVVING ENGINES are HOT and NOISEY.

Now Riggs is directly beneath the boarding staircase. The spent shell casings from the Uzi Submachine gun (CHATTERING directly OVERHEAD) dance on the tarmac all around him.

Riggs grabs hold of the staircase and makes his move . « « fast, and with the agility of a cat, he SWINGS out from beneath the airplane ~-- pulling himself upward ~~ face to face with the startled Pilot -- BERRETA OUT ~~ fire EXPLODING from its muzzel at point blank range.

The Pilot is blasted backwards into the Gulfstream, -- the Uzi SPRAYING BULLETS through the roof of the fuselage as he falls.

Hans panics. He doesn't know how to fly a plane, but

he wants to get the hell away .. . so he PUSHES FORWARD on the THROTTLE just enough to put the plane INTO MOTION.

FORWARD. The staircase TEARS AWAY from the Gulfstream's fuselage SPILLING Riggs to the ground.

Riggs TUMBLES beneath the wing, where -- flat on his back -~- he sees the LANDING GEAR ROLLING TOWARDS HIM!

He rolls out of harm's way -- the landing gear coming within inches of crushing him. But now Riggs must contend with the SEARING HEAT expelled from the Turbofan Jet Engine as it passes over him.

THE LEADING EDGE OF THRE GULFSTREAM'S WING

SHEERS off the roof of the Ford Bronco as it passes by. Meanwhile...

THE MERCEDES

SQUEALS away in cloud of exhaust smoke. But in their hurry to escape with their lives, the South Africans have forgotten about the TWO SUITCASES resting on the tarmac. The Mercedes PLOWS into them, sending them flying. One of them OPENS . . . and BUNDLES of U.S. CURRENCY spill out.

The Glufstream is rolling off in one direction, and the Mercedes has driven off in the other.

Riggs doesn't even wait for Murtaugh's reply. He just RUNS OFF after the Gulfstream.

Murtaugh and the Drug Cops jump into the DECAPITATED BRONCO and speed away.

THE MERCEDES LIMO

races across the perimeter of the landing field. The Bronco chasing after it.

RIGGS

chases the moving Gulfstream on foot -- running like

a gazelle. He catches up to it -=- LEAPS onto the wing from behind and holds on tight. He works his way over the wing toward the OPENING IN THE FUSELAGE where the door used to be.

THE BRONCO

overtakes she Mercedes. Now they're side-by-side. GUNFIRE is exchanged out the windows of the two vehicles.

The Mercedes attempts some wild evasive turns, but the Bronco sticks to it like glue. =

RIGGS

is on the wing of the Gulfstream. He tries to SWING INTO THE DCORWAY. His foot SLIPS. He almost falls beneath the moving plane. He holds on tight with both hands . . . but LOOSES HIS BERETTA ~- it slips from his belt azda BOUNCES on the ground.

Riggs PULL! himself up into the airplane.

Close quatérs. Very cramped. Hans swirls to face Riggs, FIRES his sun. Misses. Riggs YANKS him out of the cockpit. The fight is on.

The Mercedes cuts diagonally across the runway, headed toward the TERMINAL AREA. The Bronco right on its tail.

They reach the AIRPORT APRON. This is where the planes dock and tzere is considerable GROUND SERVICE traffic in the arez. Such as...

A BAGGAGE TRAIN that crosses the Mercedes' path. No time to avcid it ~~ CRASH! -- the Mercedes RAMS it! SPLITS it apart! Travels directly through it. Luggage scattered everywhere.

The Bronco follows -- destroying the luggage even further -- dragging articles of clothing from its bumper.

Suddenly ... A BOEING 727 that is being BACKED AWAY from the gate looms up it front of the Mercedes. The Mercedes BRAKES

-- SKIDS iz a pool of oil -- SLEWS sideways out of control towards a SUEL TRUCK.

Ground Service CREW MEMBERS see it all unfolding and leap for safety.

Peter and Rolf are frozen with fear. But KARL, in the back seat, KICKS OPEN the door and BAILS OUT.

It SMASHES into the Fuel Truck. EXPLOSION! FIRE BALL! The Bronco swerves to avoid the inferno.

Karl rolls across the pavement, gets to his feet and RUNS.

THE GULFSTREAM

rolling -- with no one in control -- toward an ANCHOR FENCE at the airport's perimeter.

INSIDE THE GULSTREAM

Riggs and Hans beat the shit out of each other. Hans knows as much about Martial Arts as Riggs does. Both men are being brutally punished.

Karl runs in, shouldering his way past several BAGGAGE HANDLERS who try to stop him, and HOPS ONTO THE CONVEYOR BELT that carries the luggage into the terminal. Shoving suitcases and parcels aside, he runs up the belt.

Moments later MURTAUGH ARRIVES.

He flashes his badge without ever breaking stride. And when he sees the conveyor belt, he knows this is where Karl has gone. He leaps onto the belt as well.

Karl SLIDES down the shute onto the BAGGAGE CAROUSEL, upending himself and several pieces of luggage in the process. Startled PASSENGERS react to the sight.

Karl heads for the Exit Door. But an AIRPORT SECURITY VEHICLE PULLING UP TO THE CURB outside causes him to change direction.

MURTAUGH

SLIDES down the shute onto the Carousel, KICKING pieces

of baggage from his path, vaulting to the floor. Passengers have already become blase at the sight -~- they hardly

even look. °

Murtaugh spots Karl running ahead and chases him down a * .

TERMINAL CORRIDOR

Fatigue begins to set in for Murtaugh. He runs on rubber legs; PANTING and PUFFING.

Up ahead are several REVOLVING DOORS. Passengers from arriving flights are using these doors to enter the Baggage Claim area.

Karl waits for the doors to clear of people, then slips

in. But guess what? These doors only turn in one direction. When pushed the wrong way they LOCK and an ALARM SOUNDS.

And that's what happens to Karl.

He's trapped. Stuck inside the revolving door. He can't believe it.

Murtaugh rushes towards him.

CAMERA PUSHES IN ON KARI,

Does he throw up his hands and surrender? Not on your life. He PANICS ~-- he raises his gun and POINTS IT AT MURTAUGH.

MURTAUGH

swings up his own gun. At the same moment -~-

THE THREE DRUG COPS

arrive from the opposite direction. All WEAPONS EXPLODE. Bystanders SCREAM and duck for cover.

The revolving door is SHATTERED and Karl's bullet riddled body PIROUTTES through the broken glass.

MURTAUGH AND THE DRUG COPS

exchange an exhausted look as they holster their hand guns.

At the top of the knoll is the ANCHOR FENCE that surrounds the Airport. The knoll slopes gently downward do the BUSY HIGHWAY below.

We watch as --

THE GULFSTREAM TEARS THROUGH THE ANCHOR FENCE and SLIDES DOWN the embankment toward the Highway.

Riggs and Hans are THROWN FORWARD as the plane drops -- TUMBLING head over heels down the center aisle.

The Gulfstream trails a giant CLOUD OF DUST as it rolls across the highway. BRAKES SQUEAL. HORNS HONK. Traffic screeches to a halt. A CHAIN-REACTION of REAR~END COLLISIONS results. CRASH! CRASH! CRASH!

The Gulfstream continues across the highway toward a BLUFF that overlooks the BEACH and the OCEAN BELOW. A sheer drop that would mean certain death for Riggs and Hans inside the plane.

Riggs glances through the windshield -- sees the bluff approaching. The hell with Hans, he's got to stop the plane. And that's just what he does -- PULLING BACK HARD ON THE BRAKE LEVERS. .

But during this . . . HANS LEAPS OUT OF THE PLANE onto the highway below.

The Gulfstream SKIDS TO A STOP with its NOSE WHEEL DANGLING over the cliff. PHEWH!

HANS

runs along the highway. Traffic has come to a complete stop for miles. People climb from their cars to gawk

at the spectacle. So it isn't very hard for Hans to STEAL one of these cars, make a U~TURN and escape.

Riggs appears in the doorway holding Hans' SUITCASE. A CROWD OF SPECTATORS pushes forward to get a look at him.

The Ford Bronco ROARS up followed by TWO HIGHWAY PATROL CARS. SIRENS are SCREAMING. BUBBLE LIGHTS are FLASHING.

Sensing Murtaugh's authority, the crowd parts, clearing a path for him. Riggs hops down from the Gulfstream.

/¢

Murtaugh marches up to him, Riggs looks pretty beaten r up and very pissed off.

© MURTAUGH

fe (after a pause)

Speaking of lunch, isn’t there a hot dog stand a few miles down the beach from here?

CAMERA PULLS UP and AWAY as Riggs and Murtaugh push their way through the crowd.

Someone's CAR RADIO is PLAYING LOUDLY:

@ INT, A PRIVATE ELEVATOR

Hans rides up in the elevator. His arm is in a sling. His face bruised and swollen.

(I

The private elevator opens directly into the office, which is tastefully, and expensively, appoizted with antiques and oriental rugs.

Hans enters the office, which at first glarce seems empty. Then we notice him. Seated not at zis desk, but at a small table where he is eating hie lunch. His name is ARJEN RUDD

Rudd indicates the chair across the table from him. As Hans comes forward, he realizes that he :s WALKING ON A SHEET OF PLASTIC that has been laid over the carpet.

Hans sits. Rudd is enjoying a thick steak for lunch. He slices off a piece and slides it into hiz mouth. Hans sits nervously, waiting for Rudd to speak.

Rudd calmly cuts another piece of steak ané >ops it into his mouth.

Rudd doesn't reply to this suggestion. In fact, he changes the subject completely.

rey ze

(2

Hans relaxes. Reassured by Rudd's expression of concern.

Rudd slices off a piece of steak for Hans, spears it with his fork and offers it to him.

As Hans leans forward to take the piece of meat in his Mouth, we HEAR: PHHHITT! And Hans is propelled BACKWARDS in his chair. A BULLET through his FOREHEAD.

MR. BENEDICT

appears, having entered from the bathroom, holding a SILENCED PISTOL in his hand. He's a wiry, loose~jointed weasle with madness in his eyes and a perpetual smirk playing upon his lips.

He looks down at Hans' body. Blood is pumping from his head wound onto the plastic sheet.

Benedict removes the ROLEX WATCH from Hans’ wrist before wrapping up the body in the plastic.

Rudd is familiar with Benedict's peculiar sense of humor. He proceeds without reaction:

Rudd voices no objections as Benedict slips the watch onto his wrist.

Rudd removes a PHOTOGRAPH from a folder.

Benedict takes the photo. .. it's a PICTURE OF MURTAUGH.

(3.4 BENEDICT Who's this?

Benedict practically licks his lips.

Murtaugh strides across the room. CAPTAIN MURPHY falls into step with him.

Murtaugh WHISTLES; impressed at the amount.

CAMERA PANS to FIND RIGGS. Seated in a chair, struggling to free himself from a STRAIGHT JACKET while the Drug Cops (Wyler, Price and Cavanaugh) look on.

Murtaugh and Captain Murphy arrive.

bo to lec /t >

; CAVANAUGH Houdini here's bet us he can free himself inside of five minutes.

Murtaugh reaches, into his pocket and pulls out a roll of bills. :

MURTAUGH

I'll cover that bet. How much? WYLER

Save your money, Sarge. One minute,

Riggs.

Riggs is building up to something. Straining against the jacket, his face flushes and the veins in his neck

pop out... . © Riccs 8 Don't try this at npme, boys and girls... aa.) “+

That's when WE HEAR a LOUD POP! and Riggs winces in pain. Murtaugh knows exactly what Riggs iS up to.

The Drug Cops are startled to see Riggs suddenly wiggling free of the jacket. Here's one hand -~ and there's another. He unhooks the jacket and slips it off.

The Drug Cops are astounded. They also moan and groan over having lost the bet.

. PRICE How'd you do that?

RIGGS © Dislocated my shoulder once... I can make it pop out if I want to.

Riggs has now gotten to his feet.

vA

® RIGGS

Oh, yeah. But not as much as when I pop it back in

Which he dees ~~ by SLAMMING his shoulder against the wall, then clenching his jaw against the pain.

Murtaugh goes to the coat rack and grabs his sports coat. Riggs follows him over.

Ny, ¢ ©

Murtaugh makes a disgusted face at the very sound of

it. MURTAUGH (seftly) Rianne's commercial is on tonight. RIGGS Rianne's in a commercial?! MURTAUGH Hey. Not so loud. RIGGS What's the matter ~- aren't you proud of her? © MURTAUGH ? Don't know. Haven't seen it yet. (hushed)

What if she stinks?

roo

JG

Riggs turns back to face the Bquad Room again.

‘RIGGS

Tonight. Channel five at eight-fifteen. The commercial debut of Rianne

Murtaugh. The-Sarge's beautiful daughter. Don't miss it.

Riggs smiles at Murtaugh, but Murtaugh just gives him a sour look in return.

Murtaugh's SEDAN pulls into the driveway next to his fishing boat on its trailer. Riggs glides up to the curb in his PICKUP TRUCK. Both men climb out.

Murtaugh leads Riggs around to the back of the house.

4% ROOM ADDITION is being added to the Murtaugh house. The framing is up. Some drywall. The windows are in,

Murtaugh and Riggs enter the room by walking between two of the framing studs.

{t-

A long-haired, 30 year old CARPENTER is down on his knees using a PNEUMATIAC NAIL GUN to install the plywood sub-flcoring. Each application of the gun generates

a loud THAWOMP! sound.

The Carpenter looks up, didn't even know Riggs and Murtaugh were standing there.

“THAWOMP! THAWOMP! THAWOMP!

(. MURTAUGH (staking his head) That's what I thought.

Riggs nods. Silence, Then --

(pause) - +» « ever since I met ycu.

/¥.

They laugh together while extering the house through a hole in the wall.

THUNDERING FEET bounding down the stairs: Twelve year-cld NICK MURTAUGH and his eight vear-cld sister, CARRIE.

They run into the living rocm where Murtaugh, Riggs, TRISH MURTAUGH (Roger's wift} and 19 year-old RIANNE have already gathered to wactsh the TV. (Rianne, by the way, is a total knock oct.

Yes, honey. Qe’ san watch it over and over again.

T=ISH . Nick! This is ircortant to your sister.

Nick makes a face. Murtauc:, meanwhile, is adjusting the TV picture.

TS=SH Color's fine, heresy. Sit down.

Even Riggs has to stifle a grin at this.

Murtaugh steps away from the set with an appraising look.

Murtaugh is about to sit on the sofa when he notices GEORGE for the first time. George is Rianne's boy friend.

GEURGE

Yes, sir. Don't you remember? Last week when I picked up Rianne. We had a long talk. !

Murtaugh clearly has no recollection of this whatsoever.

. MURTAUGH Okay. You can stay. But move ccwn.

George moves over on the sofa making room for Murtaugh. Everyone's attention is glued te the TV.

Then, she sees herself on TV... . and SCREAMS!

THIS IS RIANNE’S COMMERCIAL:

She smiles into the camera. A big, beautiful smile. Is this a toothpaste commercial? Then she turns anc runs away from camera. We realize she's on a beach - . »« and shets wearing the SMALLEST BIKINI EVER MADF.

She runs into the arms of a MALE MODEL whe is also wearing a bathing suit.

Rianne and the Male Model kiss™as a PACKET OF CONDOMS is supered over them. gy?

4, ANNOUNCER (V.0.) Isn't it better . . . when you know it's safe?

Then, Rianne and the Male Model turn toward the camera and intone:

RIANNE & MALE MODEL We think soi

And that's the end of it. Trish hits the mute button on the remote. The room falls silent. Murtaugh is glaring threatenly at Riggs, who squirms in his seat.

Finally, Rianne breaks the silence.

George ...

Z|

MURTAUGH

-~ George, I have a gun.

George leaps up from the sofa and heads for the door. Rianne goes after him.

Trish knows that tone of voice. She shoos Nick and Carrie up the stairs. Murtaugh begins to advance on Riggs. Riggs gets te his feet.

up. I'm gonna get rubbers on my

desk, Rubbers in the mail. Rubbers in my coffee cup... because you

told everybody to watch!

Trish now comes between them. TRISH Have you two had any dinner? Let me fix you something to eat. MURTAUGH Itm goin’ for a walk, but he wants a Chili pizza!

Murtaugh stalks out of the house.

Riggs leans against the kitchen counter, standing up, eating a sandwich as Trish unloads the dishwasher.

Riggs watches her as if mesmerized by this simple domestic chore. Perhaps she feels his gaze, because she turns

to look at nim.

Trish takes the plate -- looks into Riggs' eyes -~ sees his troubied Look. - TRE (very syQeathetically) Something wrong? aye

Riggs doesn't answer gight away.

TRISH : Is it something you want to talk about?

Riggs lights up a cigarette, shakes out the match, takes a pull on it, expells the smoke. Trish takes this as a ®"no, oi

But Riggs wants to. He goes right into it.

@ RIGGS

The phone was ringing when I walked

in the door. Must've been ten

or eleven at night. I answered the

phone and got the news. She was

dead. Killed in a car crash. And

then I remember going down on my

knees, shaking all over and thinking,

"Here I go. I'm losing it.” So

now I'm lying on the floor of the

living room . . . seeing under the

couch . . . and there's my Cross

pen I was looking all over for.

And then I heard a voice... like

a drill instructor .. . saying,

"Get up -- now!" But I stay down.

And the voice keeps telling me to

get up. And then I did something

weird. I decided to stop crying, just

to see if I could. And I could.

And then . . . I stretched my mouth

into a smile. I waghurting, but

my muscles still w@&ked . .. and I

stood up. After Mat, I drove to the morgue. Idgntified the body. And

© signed the p Ss with my Cross pen.

Trish is moved by the sBory. But Riggs himself is unfazeé » « » almost detached from it.

Trish doesn't know what to say .. . but now she becomes aware of Murtaugh standing in the kitchen doorway. Riggs turns and sees him, too.

@ ; MURTAUGH

You never told me that.

ohn,

Man should be faithful to his wife. Some men just can't. That's you. But you didn’t cause the accident, Martin. What you did didn't make it happen.

Riggs put his hand on Murtaugh's shoulder.

Riggs emerges from the howse to find Rianne énd George leaning against his car,Qtalking.

‘Y RIGGS You were great, Rianne.

Rianne positively lights up.

of you.

She's practically swooning. George is becoming a little jealous. Riggs sees it, and tries to include him.

George opens his mouth to speak, but doesn't get a word out.

RIGGS

George, let's have a talk.

Riggs puts his arm around George’s shoulder and takes him aside in a fatherly manner.

GEORGE

But, Sir .. . Mr. Murtaugh has a gun. RIGGS

That's true, George.

(beat) But on the other hand, he isn't a very good shot.

With those comforting words, and an encouraging slap on the back, Riggs takes his leave of George and Rianne.

Riggs enters his trailer.

Well, this place hasn't been cNanea up since the last time we saw it. Ql

Riggs heads straight for*ghe fridge, where he removes a bottle of beer, angles the neck against the table edge and KNOCKS cff the cap with the palm of his hand.

He picks up the Remote Control, turns on the TV and settles back on the sofa to watch.

Riggs' dog, SAM, enters the trailer through a DOGGIE DOOR IN THE FLOOR and jumps onto the sofa next to Riggs.

I know we usually watch the Three Stooges at this time, but tonight there's a documentary on Public Tv about the Coral Divers of the Great Barrier Reef. How's that sound to you?

(pause) You're right. Screw the divers. Go with the Stooges.

All is quiet in the houSe and the neighborhood.

Zk.

LG

CAMERA MOVING .. . PROWLING through the house... UP THE STAIRS ... into

THE BEDROOM

where Murtaugh and Trish are alseep. Murtaugh turns over restlessl.. Something's bothering him. What is it?

An open window, cold breeze and BANGING WINDOW SHADE.

Half asleep, Mzrtaugh gets up to close the window. The window shaze slips from his fingers -- SNAPS up ~~ CLATTERS LCTOLY. Moonlight streams in, filling the room...

And that's whe: Murtuagh sees the most frightening thing he's ever seer in his entire life -- everybody's most primative nightmare:

FIVE HOOQDED FIZURES STANDING BY THE BED!

Even a cop isr't-ready for this.

ge MURTAUGHQ Oh, Jesus Christ . «q@ ! “®

That's all he gets to say bafore he's grabbed and violently shoved face-dcwn upon the hed.

Trish awakens -- starts to scream -~ a gloved hand SMASHES over her mouth. Murtaugh struggles -- face pressed into @ pillow -- unable to breathe.

A PAIR OF SISS3RS are held up! Trish's eyes go wide. What are these creeps gcing to do, anyway?!

And then oe

A ROLL OF SILVER DUCT TAPE is produced. A three: foot length of tape is RIPPED off the roll and cut with the sissors.

Another secticn is RIPPED off and cut. Two more quickly after that -- RIP, RIP. Never has the sound conveyed such a sinister or terrifying quality.

The Hooded Ficzres work with incredible speed and skill. In QUICK CUTS wE SEE: Trish's eyes TAPED CLOSED . . . mouth TAPED SHUT...’

wrists WRAPPED and secured to the headboard ... ankles WRAPFED and secured to the footboard.

ae t

And Murtaugh . . . Arms pullec sehind his back ~- wrists

WRAPPED with tape. Ankles WRAFPFD with tape.

More tape is needed -~ RIP, RIi:, RIP.

Murtaugh fliped over, face up, zaSping for air. Eyes TAPED COSED . . . mouth TAFED :3UT.

HOOL=> FIGURE

{to Murtauc:) Wondering about ycuz kids, Murtaugh?! Wondering what we c:2 to them?! Man, I'd be gcing f:cking nuts right now if I were ycu. i'd be gcing completely bananas: Wanna know? Should I tell you?

(beat) Let your imaginaticz= run wild!

(We recognize the Hooded Figurz’s voice; it's Benedict.) s) Trish SOBS, body convulsing.qvurtaugh struggles. GRUNTING. GROANING. Going crazy. oF IN

BENE_ICT This has been 4 warcting, Murtaugh. After this, things yet bloody. ; Back off. Don't be a focl. Be smart. Stay alive. .

With that, the Hooded Figures iepart. It takes Murtaugh a moment to even realize they're gone.

Rianne and Nick appear at the soorway.

They run to the bed and gently pull the tape from their parent's eyes and mouths.

TRIS= Oh, babies! You okzy!?

Then Carrie runS in crying. fhe climbs onto the bed. Murtaugh TEARS FREE one hance éexd tries to hug and comfort them all .

Riggs, Murtaugh, Captain Murphy and Officers Wyler, Price and Cavanaugh are present.

Riggs is in constant motion, Getting up; sitting down; looking out the window. All the time smoking like a

fiend ~~ despite the sign displayed prominently on Murphy's desk that says, THANK YOU FOR NOT SMOKING. A cloud

of smoke hangs over Riggs’ head like his own private inversion layer.

_-MgAPAUGH Already done.,~. This morning. They're staying with ish's sister in

Bellflower. I even told the carpenter to take the week off.

CAVANAUGH : Well, you can, Riggs. You'll have to give the rest of us some pointers.

Wyler and Price laugh at the joke. But not Riggs. He takes this very seriously.

There's a tone of gravity in his voice that chills the air.

MURTAUGH

{to all) We got more arrests ketween the six cf us than the rest of the department combined. If the drug dealers are gonna make war on cops, they're gonna start with us.

(beat) How do you all feel about that?

Riggs give Murtaugh a Nok that says, “You mean ycu really have to ask?" ,

Murtaugh flashes him a look.

We think Murtaugh's going to bite Riggs’ head off at the suggestion . . . but then he. surprises us with a very wide smile.

RIGGS

Huh? ...

never de as long as we're partners because I have seniority, meaning i get to choose who drives, and I always choose me.

RIGGS _Q© ~~ hot dog in one harm, large Coke between your thigh --

‘y MURTAUGH ~~ while you stick your head out the Window like a sheep dog --

Captain Murphy gets to his feet.

Riggs and Murtaugh glare at each other. The others begin to file out. Riggs and Murtaugh are about to exit as well.

; . MURPHY Wait a minute, you two,

Riggs and Murtaugh stop in the doorway.

MURPHY

I got something special for you boys. Guy by the name of -~

{checks the file in

front of him) -— Getz. Leo Getz. Has being placed in protective custody. You two are gonna babysit this guy until the Federal Marshals show up from Washington.

Riggs and Murtaugh don't like this one bit.

Rs

‘aay

N)

Yes it is.

_to. Disneyland.

Murtaugh fumes. Riggs angrily lights up his third cigarette, fills the air with smoke.

Murphy rips a piece of paper from a pad and hands it to Murtaugh.

Murtaugh glances at the address,

Murtaugh and Riggs head for the dccr. MURPHY Oh, Riggs ... Os more thing.

Murphy picks up the sign of his desk, the one that says THANK YOU FOR NOT SMOKa Ns.

“} = MURPHY (continuing) Do you know what this savs?

Riggs looks at it, takes a hit from his cigarette and smiles.

And the two partners are out the door.

Riggs is sitting in the passenger seat with a bemused expression on his face. CAMERA PANS along his line of sight to ~-

MURTAUGH

behind the wheel. Hot dog in one hand, large Coke between his thighs. Murtaugh feels Riggs' gaze, but doesn't look over.

Riggs can cnly shake his head in defeat.

Riggs and Murtaugh stride across the crowded pool deck. As usual, everyone is sunning themselves and virtually nobody is in the water.

Riggs smokes and grins and enjoys the flirtatious glances

of several gorgeous women. He even pauses to help one STUNNING BLONDE apply some Suntan oil to her back.

Count cn it.

Murtaugh smiles tolerantly at his partner's behavior, and the two men continue on.

Swirling with activity. Our attention is directed toward a ROOM SERVICE WAITER. As he wheels the cart away, CAMERA FOLLOWS him down a corridor and into a -~ SERVICE ELEVATOR

The Waiter lifts the the silver dome from a dish and Dlaces an AUTOMATIC PISTOL onto a plate of ham & eggs.

CUT TC:

Riggs and Murtaugh arrive at the Goor they're lcoking for.

Riggs KNCCKS, A VOICE is HEARD from within.

VOICE Who's there? RIGGS Police. VOICE How do I know you're really the police? RIGGS

After I shoot you through the door you can examine efhe bullet. Now open

up! g®

LEO GETZ immediat¥1ly opens the door allowing Riggs and. Murtaugh to enter. It's a large suite ~~ two bedrooms

and a living room.

_ LEO Oh. Bad cop, bad cop.

Leo Getz is an affable little guy in his mid-thirties, with a ready smile, slicked back hair and an expensive {though conservative) wardrobe.

Riggs and Murtaugh walk right past him -- scoping out the room ~~ glancing out the window -- into the bedrooms

and bathroom.

(beat) . Whatever you need .. . Leo gets.

Riggs and Murtazgh exchange a look, but don't laugh.

Bre My stuff's al@dady in --

(Lag, Riggs fixes him

with a withering look). -~ it's yours. My stuff is gone. I'm in the small bedroom,

away. Okay?

_ MURTAUGH We con't like you.

Now, another KNOCK at the door. Riggs and Murtaugh react.

Just room service.

Murtaugh heads for the door.

OF . Sz0

Same thing. %.

Murtavugh looks through the peephole to be certain it's Room Service, then opens the door. The Waiter rolls in the cart and parks it in front of the window. He reacts te the sight of Murtaugh and Riggs, but nobody notices except us.

Riggs lifts the silver dome. We expect him to find Ham & Eggs & A Gun. .. but he doesn't. There is an order of Hamburger and Fries instead.

Now the Waiter reaches down into the LOWER COMPARTMENT, where he has moved the plate containing the gun.

This causes Riggs to turn back in the Waiter's direction ~- just in time to see THE GUN COMING UP FROM BEHIND THE SERVING CART. ©

Riggs and Leo throw themselves at the Waiter. They BUMP HEADS LOUDLY in the process, but Riggs is able

to Grab the Waiter's hand, and the gun DISCHARGES into the ceiling.

Murtaugh draws his gun, but can't get a clear shot because

_ Riggs and Leo are struggling with the Waiter. Leo is

cnly getting in the way .. . and now he throws everybody OFF BALANCE.

Riggs, Leo, the Waiter and the Serving Cart CRASH through the sixth story window -- pulling the DRAPES with them.

Hearing the SHATTERING of GLASS from above, the Blonde who Riggs talked to earlier looks up to see THREF MEN

and a Serving Cart falling from the sky trailing a window curtain like a unopened parachute.

SPLASH! Right into the pool's deep end.

UNDERWATER

© Tangled in the window curtai Sand lost within a malestrom of bubbles, Riggs, Leo ang, the Waiter struggle ina violent underwater balle®.

ae BACK IN THE HOTEL ROOM

Murtaugh looks cut the broken window to the pool below. Then he races out the door,

The Waiter EXPLODES OUT OF THE WATER and starts to climb from the pool. But Riggs GRABS him by the belt and tries to pull him back. He’d have more luck if Leo wasn't CLINGING to Riggs’ neck.

All three FALL BACK UNDER THE WATER. Sunbathers look on with horrified expressions; frozen in place; incapable of lending assistance.

Then Riggs POPS UP again. He's got a grip on the Waiter, who now has the window curtain WRAPPED AROUND HIS HEAD.

Riggs PUNCHES him HARD in the face several times until a BLOOD STAIN appears on the curtain. Riggs feels the Waiter go limp in his arms, He unwraps the curtain and discovers that HE’S BEEN BEATING UP LEO!

oo

Leo's nose is bleeding and he wears a dazed expression.

Turning, he sees the Waiter escaping on the opposite side of the pool. Riggs drops Leo, who immediately begins to sink .. . and Riggs GOES BACK to save him.

MURTAUGH

runs from the building toward the pool with his gun drawn. People see it and SCREAM. Some scatter. Others just get in his way.

FULL SHOT - THE POOL AREA go

gt MURTAUGH Everybody down!

Murtaugh aims his gun.

Some people get down -- cthers don't. They just YELL and run. Bumping into each other, obstructing Murtaugh's line of fire, forcing him to lower his gun.

And the Waiter escapes.

Riggs swims to the edge of the pool, dragging Leo.

Murtaugh gives them a hand out. Leo looks bewilderec,

and he's swallowed a lot of water, and his nose is bleeding all over the place.

RIGGS © I think sc... MURTAUGH Good!

Leo in back with his luggage, his nose stuffed with cotton. Murtaugh driving. Riggs in the passenger seat, smoking up a storm and soaking wet.

‘@

LEO

Oh, heavens mo. Nothing like that. MURTAUGH

Then what? LEO

(matter-of-factly) For the last five years I've been laundering money for the biggest narcotics trafficking ring on the West Coast.

Riggs almost swallows his Cigarette. Starts to COUGH. Murtaugh POUNDS him on the bac N)

cUT TC; .* Qt

Benedict stands by the window, looking out. He lights up a’ THIN CIGAR.

Rudd is at his desk, with the telephone to his ear. He hangs up without ever saying a word.

Benedict winces at the news. But when he turns to face Rudd, he's smirking as usual -~ and looking down at the floor, as if checking the carpet around his feet.

Riggs, Murtaugh and Leo sit at the kitchen table. Riggs is wearing one of Murtaugh's bath robes.

Jt took me ten years to work my way

up from teller to assistant manager. But I was bored -~- know what I mean? Where was all the adventure and excitement they promised us at Business School? So I start preparing tax returns on the side, you know, to pick up the slack. And that's all going fine except .. . still way too tame.

The BUZZER on the clothes dryer sounds. Leo gets Up. Empties the dryer. Brings Riggs his clothes.

Riggs takes off his robe and begins to get dressed,

. ye © MORERUGE ‘ate What kind of sign@i#?

Qa ; , . ‘x0

Action! Action! Action!

Riggs is brttoning up the front of his shirt.

LEO

And I'll tell you something else. Even if the label says Dry Clean Only, you can hand wash it in cold water and save yourself a fortune.

© (slaps his

i forehead)

Seal Wow! It just hit me! What a weird thing. I'm good at laundry ... and I also launder meney.

(beat)

Sometimes this takes all day, because we can't do it all in one deposit.

All cash depesits or withdrawals of ten thousand dollars or more generate acTR ., . "Currency Transaction Record" , . . which goes to the IRS.

That's what's good about it, Leo.

LEO

Anyway .. . after all the deposits have been made, I turn around and issue them a cashier's check for the amount of the total deposits minus & commission.

(beat) Cashiers checks are wonderful instruments. As good as cash, but they don't generate a report to the IRS.

LEO

Yeah. But there's more ..,

(beat) The Cashiers Check is treated.as a loan. The “Lender“ is the dummy Finance Company. There's loan documents to support it. They can even take a tax deduction on the interest payments they're not making.

(beat) I been scamming these guys for months now, the Drug Lords. I been holding back on them.

Good answer. And that's why I'm in such deep shit right now. I've been living out of a suitcase for weeks. Moving from hotel to hotel.

a A AW

®@ LEO

I can't tell you everything. I gotta save some cf this stuff for the Commission of Inquiry. (proudly) I'm suppose to be the "Star witness."

Murtaugh rolls his eyes at Riggs' transparent tactics.

Riggs is hanging onto every word.

L G

~ The South Africangy . av 8 LEO That's why they had all that cash on them. They're not washing it locally anymore. .

Leo reaches forward with CUPPED HANDS to catch the ash falling from Riggs' cigarette. Then he deposits it into the sink.

RIGS

All they canyongdy&re above Sunset, Leo.

Give us the me. . Oe

Leo thinks about ths for a moment.

Riggs looks disappointed.

Riggs brightens. He slides on his shoulder holster.

Murtaugh gets up from the table with a very dubious expression on his face.

It's so lush and overgrown with bushes and trees that it's hard to believe we're only ten minutes away from Beverly Hillis.

A TOW TRUCK blocks most of the narrow road while the. OPERATOR connects the towing bar to the undercarriage of a stalled HONDA,

Murtaugh's Folice Sedan can be seen approaching.

Leo leans forward from the back seat, points out the window,

. 8 . Yeah, yeah. I reyember the fountain. Q

The house itself cannot ke seen from the road -~ hedges and trees block the view. But there is a marble fountain visible, and this is what Leo recognizes.

Murtaugh pulls up BEHIND the Tow Truck. Riggs jumps out. - Leo tries to follow him.

The Tow Truck is blocking the driveway. Riggs and Murtaugh walk around it.

The Fartners walk up the driveway where a MERCEDES 450SL is parked.

The house comes into view. An ultra-modern glass palace.

They carefully circle the house until a COMMANDING VIEW

OF LOS ANGELES -~- from the Wilshire District to Marina Del Rey -- presents itself.

a) A REVERSE ANGLE

reveals the house to be @BOPPED UP ON STILTS. Most of the house and the Rntire back deck precariously overhang the canyon.

They pass a large SLIDING GLASS DOOR. They see a MAN inside the house lifting weights.

The man is tall, well built and blonde -- like the Hitmen from the opening scene. He lifts a HEAVY BARBFLL over his head as he faces a MIRRORED WALL.

His back is to the sliding glass door, but he can see Riggs and Murtaugh in the mirrey.

Suddenly, he SPINS... and HURLS THE BARBELL TEROUGE THE PLATE GLASS WINDOW.

The window EXPLODES. The barbell sails through the air, SLAMMING into Riggs and Murtaugh. Knocking them backwards.

Riggs' gun is drawn even before he crashes down onto the deck. And it's a good thing, because the weightlifting Hitman has grabbed up an UZI.

Riggs gets off several rapid SHOTS. The Hitman's UZI SPRAYS WILDLY. Potted plants on the deck rail explode and shatter into small bits.

Murtaugh and Riggs PUMP LEAD right back at him, until the Hitman FLEES out the back door.

The Hitman runs from the house. He's about to leap into the 450SL parked there when he realizes that the Tow Truck is BLOCKING the driveway.

His only choice? Absolutely. He runs down the driveway and JUMPS INTO THE TOW TRUCK. The Tew Truck Cperatcr has just finished hooking up the disabled Honda when

he hears his Truck's MOTOR ROAR TO LIFE.

Riggs and Murtaugh arrive just as the Truck SQUEALS AWAY . . . pulling the Honda behind it. Riggs LEAPS onto the back of the Tow Truck.

Murtuagh makes a dash for his own vehicle.

Murtaugh jumps in behind the wheel and FIRES UP the motor. Leo begins tc climb over from the back seat.

Murtuagh shoves Leo backwards int the rear seat.

N) yt . SPEEDS down the narrow ganyon road. Riggs is working his way up toward the Truck's Cab, holding onto the TOWING BOOM for support -- taking care not to be seen in the rearview mirror.

THE TOW TRUCK

The Truck is taking the curves at dangerous speeds causing the Honda it's towing to FISHTAIL in all .directions.

THE POLICE SEDAN

ROARS up behind the speeding Tow Truck. Murtaugh can see what Riggs is up to.

CLOSE ON RIGGS

as he TAPS the barrel of his pistol against the cab's rear window to get the Hitman's attention. The Hitman glances over his shoulder. Riggs smiles, as if to say “Surprise, asshole!”

But instead of slowing down . . . the Hitman ACCELERATES, and the Truck surges forward. Riggs looks dismayed.

&

nee, ra @

right shoulder THROUGH THE CAB'S REAR WINDOW! RIGGS

pulls away as the window EXPLODES in his face, and the bullet GRAZES his cheek. FOUR MORE SHOTS follow through the back of the Cab‘'s wall. Riggs LEAPS onto the TRUCK'S ROOF to escape the velley.

Murtaugh stays close on the Truck's tail .. . and is startled to see that Riggs is now clinging to the roof,

The Hitman hears Riggs on the roof and .. . SLAMS DOWN HARD ON THE BRAKES. SQUEALING and SKIDDING.

RIGGS

is propelled forward -- BCUNCES @n the hood, then ROLLS off the front of the Truck, d ctly into its PATH!

Well, this would seem tc Qe” the end of Riggs, because he would certainly be «rushed beneath the Truck. But of course we know it isn't...

A REVERSE ANGLE ON THE TRUCK

finds Riggs CLINGING to a small triangular PLATFORM protruding from the Truck's front bumper. (This platform holds a WINCH & CABLE RIG used to pull cars cut of

mud or soft sand.)

Riggs straddles the Winch, his legs out in front of him, the HEELS of shoes SCRAPING on the pavement as it speeds beneath him.

THE HITMAN

checks his side mirrors -~- sees that Murtaugh is still behind him.

FULL SHOT - WINDING CANYON ROAD

The Tow Truck THUNDERS around the hairpin turns, crossing the center line -- the Honda it's towing WHIPS back

and forth. Murtaugh's Sedan matches the Tew Truck's every move.

Si

RIGGS' Pov

Imagine being strapped to the bumper of a speeding vehicle ~- that’s the perspective Riggs has on the world right now, and it isn't very comforting.

The pavement is whizzing by only inches below him. Re's totally unprotected -- a head~on collision weuld smash him like a bug.

And this is exactly the thought that occurs to Riggs as the Truck crosses the center line directly into the path cf an ONCOMING STATION WAGON.

Riggs shuts his eyes ~~ and the twe vehicles SWERVE APART at the last possible second to avcid a direct hit. But the Station Wagon SCRAPES against the Tow Truck's side sending a SHOWER OF SPARKS into the air. Riggs exhales an enormous breath of relief.

Murtaugh also reacts to the near-miss as the Station Wagon Speeds by with HORN BLARING. Leo takes this moment to FASTEN his seat belt. ge

ye | The Tow Truck runs a STOP sign and SQUEALS onto Mulhclland Drive. Murtaugh's Sedan clings to the Truck like glue. Both vehicles race full bore down Mulholland, against the backdrop of the sprawling San Fernando Valley. CLOSE ON THE TRUCK'S SPEEDOMETER As the needle edges up to 70 mph. CLOSE ON MURTAUGH'S SPEEDOMETER Also creeping up to seventy. RIGGS' POV: Speeding FAST and LOW down Mulholland ~- BLOWING past oncoming traffic ~~ SWERVING around slower meving vehicles

~~ DARTING back into the proper driving lane with only inches of daylight to spare.

Riggs has his gun in hand. What's he going to do with it? Shoot the Truck's driver? Shoot out a tire? But first...

ro é }

A HUGE MOVING VAN

looms up ahead, traveling in the same direction as the the Truck . . . but at half the speed.

THE HITMAN

decides to pass it. He STOMPS down on the gas pedal, kicking the Truck's speed up to 80, At the same moment

€ « *

RIGGS

FIRES his gun into the Truck's engine compartment, hoping to hit something vital that will bring this mad chase to a halt. And guess what? It works.

THE HITMAN

is stunned to feel the Truck loosing power. The speedometer needle begins to drop rapidly ... . 70 mph, 50 mph.

See if you can spot Riggs’ mistake. One of the worst times to lose power is when you're recklessly passing a big truck on a winding road.

ge

THE TOW TRUCK Q

is side-by-side with the BHing Van. It doesn't have enough power to get arqund it -~ and it can't get back into its own lane because the Moving Van is already there.

And to make matters worse, a LAND ROVER with a SURF BOARD ATTACHED TO THE ROOF is speeding towards it from the opposite direction.

RIGGS

sees this horror-show unfolding from a front row seat. The Moving Van looms up beside him like a sheet-metal canyon wall. Its big tires spitting gravel and dust into his face. Its noisy Diesel engine belching smoke and heat.

And the Land Rover .. . headed directly for him,

THE HITMAN

has only one option: He SLAMS his foot down on the

BRAKE so hard, he practically sends it through the floorboard The resulting action happens fast:

THE TOW TRUCK WHEELS

LOCK =~ SCREAMING and SQUEALING across the pavement in a cloud of blue smoke.

reacts -- hitting his own brakes. But there just isn't time.

THE POLICE SEDAN

CRASHES into the Honda being towed by the Truck.

THE HONDA

18 PROPELLED over the top of the Tow Truck ~-- SHEARING OFF everything that extends above the level of the Truck's

RIGGS

looks up to see the underside of the Honda as it passes over his head.

ge THE LAND ROVER DRIVER Q } gt sees the airborne Honda Alying towards him -- BRAKES HARD! .

THE HONDA

SMASHES down upon the roadway directly in front of the the Land Rover.

atop the Land Rover is LAUNCHED like a rocket. It slices fifteen feet through the air toward the Tow Truck.

THE HITMAN

can't believe his eyes. A goddamned Surf Board is hurtling towards him like a guided missile. It EXPLODES through

the windshield ~-- SHATTERING GLASS in all directions.

FULL SHOT - MULHOLLAND DRIVE

This is the scene after all the dust has settled:

The front end of Murtaugh's Police Sedan hes been destroyed. Murtaugh and Leo climb out -- shaken but net hurt. ,

The Honda has been totaled by the Land Rover, which nas alsc sustained considerable frent end damage. But the Driver is uninjured.

Riggs climbs to his feet. Battered and bruised and madder than hell. He charges back toward the Tow Truck with his gun out, but stops short. This is what he sees:

The Surf Board protrudes from the Tow Truck's windshield on the driver's side. It's not hard to imagine the fate of the Hitman inside.

Murtaugh and Leo approach the Tow Truck and see what Riggs is looking at.

BLACK & WHITES arrive on the scene with BUBBLE LIGHTS FLASHING. Uniformed POLICEMAN jump out. Murtuagh approaches them, displaying his badge.

CLOSE ON RIGGS & N) He catches his breath. His, pod begins to boil. “QQ A cUT TO:

A BLACK MERCEDES puils into the driveway. It parks, and two men get out: Rudd and Benedict. Once they have gone inside . . . Riggs, Murtaugh and the Drug Cops close in on the house,

Rudd appears on the deck. He sees the barbell and the shattered glass door.

Suddenly . . . a BERETTA is pressed to the side of Rudd's head. It's Riggs, and he's smiling that mirthless smile of his.

CN

Riggs enters through the sliding glass doors with Rudd.

Once inside, we see that the Drug Cops have been doing their work. Benedict leans against the wall with his arms spread apart as Miguel and Price pat him down, handing his WALLET to Murtaugh.

Wyler and Cavanaugh come down the stairs.

You have no ideaWhat you're doing.

gt MURTAUGEH I wouldn't worry about that. We're profressional pelice officers. We do this for a living,

Murtaugh and Riggs exchange a look.

A WOMAN ENTE=S THE RCOM. She's in her twenties; Cressed in a business suit, her beauty down-played. She even carries a briefcase. Her name is JILL TOWNSEND.

Her arrival startles the police officers who instinctively TURN THEIR GINS ON HER. She GASPS in horror.

Riggs and J:11 make eye contact. He steps forward and takes the briefcase from her hand.

, RIGGS © -- I'll take that. Nas | ge

con't open that!“ That's a @ Diplomatidypouch! Protected under irticle 4 of the Vienna Convention ~~

Fut the cuffs on ‘em!

The Drug Cops start to follow Riggs' orders.

Murtaugh has the passports and credentials in his hand.

MURTAUGH © Cavanaugh, get the Captain on the radio. ‘

SG

@ CAVANAUGH

Richt.

Cavanaugh runs out. Riggs and Murtaugh lock frustrated as hell.

Riggs gets right into Esteban's face.

I am a Diplomat!

Riggs clenches his jaw; his nostrils flare.

Riggs positively quakes with rage.

6 MURTAUGH

All right. Cool off. (beat) Give the lady back her briefcase.

S7

Jill moves toward Riggs to collect the briefcase. She regarcs him with a sympathetic expression.

Riggs lcoks taken aback.

Riggs give her a private, conspiratorial smile.

She returns the smile as she steps away with the briefcase.

Captain Murphy has Riggs, Murtyegh and the Drug Cops assembled before him. Seated nearby is Leo Getz.

The PHONE RINGS. Price grabs it.

(to Riggs) You wanna nail a diplomatic, Riggs? Catch him red-handed. Catch him in the act. Catch him in possession of something! At least do me that one favor, because these guys are beyond the law.

Price hands the phone to Murtaugh.

© . Up till now, Murphy hasn't noticed Leo sitting there. _ But now he regards him with @Puzzled expression that See is almost comical.

“ Q PuuRPHy

(mganing Leo) Who the hell is this? ...

Leo gets up, extends his hand to Murphy.

You took a civilian on a bust?! A civilian you're supposed to be protecting!?

: MURPHY @ "Always"?!

Murphy is trying not to blow his top.

Leo looks perplexed.

WYLER, CAVANAUGH & PRICE "I don't give a fuck!"

MURTAUGH

says goodbye to his wife and hangs up the telephone. That‘s when he notices that somebofy has placed a SMALL POTTED BUSH on his desk. The le s have all been plucked off, and in their place CONDOMSQhave been draped cver

the branches. Must be about awe hundred of them.

Riggs smiles. Murtaugh ages a slow burn. He glances in the direction of Price, Wyler and Cavanaugh who can barely contain their laughter. .

That's it. They can’t hold it in any longer. The Drug Cops convulse with LAUGHTER. Eventually, Murtuagh cracks a smile in spite of himself.

Murtaugh driving. Riggs next to him. Leo in back. Riggs has a BAG OF FAST FCOD in his lap. He'‘s passing stuff back to Leo and across to Murtaugh.

Riggs

rummages through the bag for Leo's order.

him a burger.

_LEO Yes, I ordered fries!

LEO © Why would I orderings?! I've got extra onions on“hy burger! -I would never order rangs! I ordered fries!

Riggs passes out the drinks.

Hands

Gl.

Leo rewraps the burger and hands it back to Riggs with an annoyed expression.

Riggs hands Leo something else.

- LEO Oh, great! This is a Filet of Fish sandwich I've got back here! I hate fish! I will not be stuck with a Filet of Fish sandwich. I refuse to eat this. Somebody has to trade.

Fine. Then we have to go back.

Riggs starts to chuckle at the idea of Leo becoming roommates with Murtaugh.

GZ

RIGGS & MURTAUGH What? LEO They're right!

A BLACK MERCEDES SEDAN SQUEALS up to the curb, right into the camera so that its DIPLOMATIC LICENSE PLATE FILLS THE SCREEN.

©

A valet parking ATTENDANT jumps Exe the car and hands the keys to Rudd who has just finiShed lunching at the restaurant. . op

Rudd slides in behind the whegl, and that's when he sees: .

RIGGS

standing across the street. Leaning against his Pickup Truck, glaring at Rudd with a sullen, threatening expression . » « puffing intently on a cigarette.

Rudd looks momentarily shaken, then recovers: His arrogant expression returning quickly. He flcors the Mercedes

and ROARS away from the restaurant without giving Riggs a second look.

RIGGS

follows the car with his eyes.

Rudd's Mercedes travels down Wilshire Blvd. It stops

for a red light at the corner of Wilshire and Santa Monica Blvd,

Nc sooner has Rudd come to a full stop, then Riggs' FICKUP TRUCK pulls up beside him. PUDD

casually glances over -- then does a double take upon seeing Riggs behind the wheel of the Pickup.

RIGGS

gives Rudd a penetrating stare.

RUDD

is growing edgy. This is getting on his nerves. He's like a volcano ready to errupt .. . and that's exactly wnat he does. He STOMPS DOWN ON THE GAS PFDAL...

FULL SHOT - THE INTERSECTION

Thre Mercedes SQUEALS through the intersection AGAINST THE RED LIGHT, leaving a long patch cf rubber and a cloud of smoke in its wake.

Cars traveling on Santa Monica Blvd. HONK and BRAKE, One car REAR-ENDS another.

A WOMEN and her TWO CHILDREN walking“in the cross walk are nearly run over by Rudd's sped@§ing Mercedes, hurtling recklessly through the intersechion. '

° » is helpless to do anything but watch as Rudd flaunts his ammunity by endangering the lives of innocent pedestrians

RIGGS

The building has a SECURED UNDERGROUND PARKING LOT,

A UNIFORMED GUARD opens and closes a RCLLING METAL GATE that prevents unauthorized people cr vehicles from gaining access to the parking area.

Rudd's Mercedes turns off cf Wilshire Blvd. into the Consulate Building driveway. As Rudd waits for the Guard to open the gate, he is STARTLED TO SEE:

RIGGS

standing on the sidewalk -- pulling on a cigarette -- glowering at him.

RUDD

is completely unnerved by Riggs' amazing ubiquity.

-

¢

Then Rudd SCREECHES his Mercedes into the underground parking garage.

RIGGS

watches Rudd disappear into the garage, and the big metal gate roll down behind him.

The Guard swaggers up to Riggs.

The Guard looks taken aback,

©

The Guard slowly retreats.

; ) Ricc

(tauntisg him)

C'mon. Throw me’ cff the sidewalk!

The Guard just glares at him. RIGGS No? Change your mind? (beat)

Asshole. — Riggs strolls away from the Guard, toward the front entrance to the building. He notices that a SURVEILLANCE CAMERA is mounted above the door. He steps forward for a closer lcok.

Rudd looks into the SECURITY MONITOR beside his desk, sees Riggs (in grainy, wide~angle black and white) peering directly into the camera lense.

Benedict is standing behind Rudd.

AS

Rudd looks surprised to hear this.

Jill Townsend crosses the room wie an arm~load of envelopes. Other SECRETARIES are busy w ing at computer terminals.

The atmosphere is hushed, bustness-like, and dignified.

We follow Jill into -~

“THE CONSULATE LOBBY

where she deposits the envelopes into the MAIL BaG. Then, glancing up, she CATCHES SIGHT OF RIGGS in the Security Monitor. :

She is obviously taken with him; fascinated by his scruffy appearance and coiled, hair-trigger temperament.

She continues to stare into the monitor until Riggs crushes out his cigarette and disappears from view on the monitor.

As Riggs drives, his RADIO comes alive.

Riggs grabs the radio.

Aer, ‘ “a

6G.

In the bathroom. He's been in there all morning.

67:

Riggs heads up the STAIRCASE. Leo tags along behind

him. LEO » « » he told me to call the station and have the dispatcher find you... Riggs arrives at the bathroom door. He KNOCKS,

Riggs opens the door and steps in. Leo peeks in behind

him.

» gtkices Go downstaars, Leo.

Riggs closes the door on Leo, then turns to Murtaugh

who is seated on the toilet.

Sport Magazine has arrived, with articles

on the baseball play-offs, a preview of the new college football season, and a special section on Deep Sea fishing --

G8

MURTAUGH

~~ let me finish!

(beat) So I think to myself, it's been a long day, I'll go up to bed and read my magazine. But Leo won't let me alone. He follows me around like a puppy. He wants to talk about "investment strategies for the Eighties,” and "deferred annuities," and I don't know the fuck what all, and all I wanna do is go upstairs and read my new Sports Magazine --

RIGGS

-~ what are you talking about -- MURTAUGH

-~ shutup, would ya, and listen!

(beat) So finally I do what I do when the kids are driving me crazy and I want some peace and quiet...

(beat } I come into the bathroom and shut the door behind me. I. don't really

need to use the bath , I just wanna read my fucking Spof*S Magazine! “ Qrkcs

Okay. So wha?! —

Murtaugh indicates the TOILET PAPER ROLL where the following

message has been written: . "BOOM, YOU'RE DEAD."

Riggs reads the message and reacts.

of

RIGGS

Well, at least you got to read your Magazine.

Riggs gets down on his hands and knees to investigate the situation.

As long as you don't stand up, you're okay.

: MURTAUGH No way! I'm sitting on a toilet, here! Gimme a break!

CUT TQ:

‘@

70 .

A real circus. FIVE PATROL CARS with flashing BUBBLE LIGHTS. TWO AMBULANCES. THREE FIRE TRUCKS. SIX TV

Station NEWS VANS. DOZENS of UNIFORMED COPS. A CROWD of SPECTATORS. And a POLICE CHOPPER circling overhead.

FEMALE NEWS

(beat)

And here comes the Bomb Squad now!

The BOMB SQUAD TRUCK roars u @o the curb and FOUR BCMB SQUAD COPS jump out wearing OTECTIVE GEAR, looking

a little like spacemen,. They each carry heavy leaded BOMB BLANKETS, or

The Bomb Squad rushes in. The place is wall-to-wall Cops. COP Bomb Squad! Clear a path: Clear a path!

The Bomb Squad charges up the CROWDED STAIRCASE.

TWENTY COPS are squeezed into this small space. Murtwagh sits on the toilet, embarrassed as hell. He glares at Riggs.

The media circus continues.

FEMALE NEWS

Now Leo steps up to the Reporter, wearing DARK GLASSES,

FEMALE NEWS

. LEO That's right, Sally. I was the one who actually called the police.

The room looks like a padded geri because the Bomb Squad

has DRAPED the room with LEAD BLANKETS. Murtaugh is also WRAPPED in the these blankets.

The Bomb Squad Members are finally prepared to suggest a course of action:

Murtaugh shoots Riggs a nasty look.

7Z.

BOMB SQUAD LEADER

I want the room cleared.

{to Murtaugh) Those blankets will offer you some good solid protecticn, Sgt. Murtaugh. Now here's the drill: When the toilet gets flushed, you dive like hell into the bathtub. Pull the blanket up over your head like this.

(he demonstrates) That's a good, old-fashioned cast iron tub, and it'll withstand a pretty good blast... uh, just in case we get detonation, that is.

RIGGS

My pleasure.

They provide Riggs with a QPOTECTIVE OUTFIT.

Everyone has been moved back away from the house. The Female News Reporter is now standing in the MIDDLE OF THE STREET.

FEMALE NEWS

The Bomb Squad Members have gathered on the staircase. They are frozen, like statues. Everyone else has been evacuated from the house.

THE CAMERA MOVES UP THE STAIRCASE toward the BATHROOM DOOR.

Riggs and Murtaugh, all alone. Riggs wears the Protective Suit. Murtaugh is wrapped in the Bomb Blankets. Riggs has his hand on the Flush Lever.

do it? RIGGS On three. On three. Ready? MURTAUGH Do it, for Chrissakes! RIGGS One... two... . three!

Riggs FLUSHES! Murtaugh LEAP, Soff the toilet. They both DIVE into the tub -- ducKing and covering as they land with a heavy THUD. y?

The Bemb Squad Members shield their faces under their protective outfits.

Riggs and Murtuagh lift their heads up from the tub and peek out from behind the protective clothing.

No explosion. It worked. They smile in relief.

It's nearly a celebration. Everyone is smiling and laughing. Riggs, Murtaugh and the Bomb Squad get a big CHEER as they appear in the front yard.

FEMALE NEWS

@

And then .. . BOOM! An EXPLOSION in the SEWERS under the street. A MANHOLE COVER is propelled high into the air. WATER, FLAME and SMOKE SPEW from the GAPING CRATER left in the road.

The Female News Reporter nearly Jumps out of her skin. FEMALE NEWS REPORTER Holy fuck!

Leo approaches the desk of a DIPIOMATIC ENVOY, who rises te greet him.

Leo takes a seat across the desk from the Envoy.

LEO ; I need your help. You're the only one who can help me.

button) Your friend's name®. .. ak , Qr0 Jones. ENVOY Wait a minute. I thought you were Jones? LEO

I am. We're both Jones. That's a pretty common name here in America, you know.

And then . . . MURTAUGH MAKES AN APPEARANCE. He walks through the office toward the Envoy's desk. Clerks and Secretries look up and GASP.

Murtuagh wears a flowered Hawaiian shirt, bright red sweat pants, a Dodger cap and black-out sunglasses.

The Envoy's jaw drops as Murtaugh joins Leo.

e

Murtaugh leans forward in a threatening manner.

He knows what he's talking about. I don't think you really want to go to South Africa.

The Envoy is silent for a moment. He's never encountered a situation like this before.

iN) SERTAUGH I'm what? ”

. ENVOY

. ENVOY Yes you do. You are a black man, Mr. Jones.

val

I've heard enough of this. I'm going to ask both of you to leave this building immediately.

Murtaugh jumps up from his chair. &

TWO MALE CLERKS rush over to assist the Envoy. They grab Murtaugh under each arm, attempting to whisk him off.

Murtaugh easily throws them off, SENDING THEM FLYING in two different directions, CRASHING into lamps and furniture.

The Envoy presses the PANIC BUTTON under his desk.

The panic button RINGS A BELL at the Guard's Station next to the parking garage. The Guard hears it and RUSHES INSIDE.

Once the Guard has disappeared, Riggs shows up. He Presses the button that controls the Gate. It ROLLS UP , . . and Riggs enters the Parking Garage.

Riggs enters, heading directly towards the Consulate building entrance. :

pots

a @

Riggs quietly slips into the Consulate. No one sees him. Everycne's attenticn is cn the commotion created by Murtaugh. Riggs sneaks in for a closer leok, a big smile playing on his lips because ...

MURTAUGH

is standing on a desk top, peeling off his Hawaiian shirt.

The Security Guard tries to pull Murtaugh down, buy Murtaugh JUMPS to the next desk top. Things CRASH to the floor. Secretaries SCREAM. .

Murtaugh, who is now naked from the waist up, grabs a South African FLAG that's part gee Gisplay, and begins to WAVE it over his head. S

mugitucH I wanna go to goth Africa! I wanna go to SGuth Africa!

This is when Rudd appears ~- and he can't believe his eyes.

Riggs enters the office from the elevator. It's immaculate. There is no indication that any work is done here.

No files. No paperwork. Nothing for Riggs to snoop through,

Maybe this is why the note pad on Rudd's desk calls so much attention to itself. As Riggs moves toward the desk, he HEARS SCMEONE COMING.

He quickly RIPS THE TOP PAGE FROM THE NOTE PAD then steps back against the wall.

Rudd@ charges into the office from the elevator without even seeing Riggs and picks up his telephone. Riggs steps forward. He's followed by Benedict and FOUR of his HITMEN.

Rudd slowly hangs up the phone.

Riggs glances at the Hitmen: Each one has blonder hair and bluer eyes than the next. And each one towers cver

Riggs.

They stand there, poised for action . .. like Dobermans, waiting for the attack command.

RIGGS ge As usual, you got ev rything all turned around. -Q

Rupp

(to the Hitmen) Show Officer Riggs to the street.

One of the Hitmen advances on Riggs .. . and Riggs puts a move on him that would make your head spin. He grabs the guy's arm and SLAMS him to the floor, pinning

him there with his foot.

The other Hitmen make a gesture to attack and Riggs DRAWS HIS GUN stopping them in their tracks.

Silence. Nobody makes a move. Mexican stand-off, Riggs begins to back toward the door.

Riggs FIRES his Beretta past Benedict's ear into Rudd's enormcus AQUARIUM. The glass SHATTERS. Water PCURS

cut. Rare and expensive fish flip-fep across the Oriental] carpet.

Riggs exitS. Rudd, Benedict and the Hitmen drop to the floor in a desperate effort to rescue the most valuable fish.

As Riggs marches across the lobby toward the front doors,

he sees a familiar face walking towards him: Jill Townsend. She locks eyes with him, surprised to see him inside

the building. In less than a moment, they have reached

each other. .

RIGGS

Riggs. Martin Riggs. 6 (beat)

Miss ... Townseng: Qeight?

_ RIGGS ~- just making a secial call on your boss.

Riggs continues on toward the door. Jill watches him go.

Riggs, Murtaugh and Leo walk toward their parked Police Sedan, .

Did you see their faces when I took my shirt off and waved their flag! Man, that was fun! I enjoyed myself. I had a good time. I felt young again.

(to Riggs) What about you?

dl.

They arrive at the car. Murtaugh notices that Leo has a cigar in his hand. He passes it under his nose, drinking in its pleasant smell.

Leo climbs into the back SEah, ae Riggs and Murtaugh remain on the sidewalk fot &“moment.

Riggs unfolds the page he tore from Rudd's note pad.

RIGGS ; I took this from Rudd's desk.

Murtaugh takes it. Reads it out loud.

; RIGGS Whaddaya think?

Suddenly, the CAR'S SIREN BEGINS TO WAIL -- an awful, ear-piercing SCREAM that startles Riggs and Murtaugh.

Murtaugh throws open the car door, sees Leo leaning over from the back seat with his hand on the dashboard,

Riggs is amused to see all the traffic on Wilshire Blvd. pulling over to the right.

Benedict's Hitmen are soaking he aquarium water with towels. The angelfish sun in small bowls and coffee cups filled with water .

“XQ

Rudd sits down behind Mis desk. In a moment, he will notice that a page is missing from his pad. And that moment is now.

DISSOLVE TC:

Wyler wears cnly a pair of gymn shorts. He's in great Physical condition. He straps on a pair of GRAVITY INVERSION BOOTS, then reaches up to a chrome-plated bar suspended from the ceiling, swings his legs high into the air and HOOKS the boots over the bar. Now, Suspended upside down, he begins his morning routire of inverted sit-ups.

Wyler is startled by the unexpected greeting. Who the hell is this?

First we get WYLER'S UPSIDE DOWN POV of a MAN is standing in. the kitchen doorway. Then...

THE CAMERA RIGHTS ITSELF

And we see that the man is Benedict. He holds a pistol with a silencer attached to the barrel.

Alarmed, Wyler makes a reach for the bar to unhook himself.

Benedict FIRES his gun. The bullet PINGS off the chrome bar, and Wyler's hand jumps away.

Benedict puts a THIN CIGAR into his mouth and lights up.

Price comes out to his backyard pool with a towel around his neck. The house is a small stucco bungalcew and

the pool takes up nearly the entire yard.

Price discards the towel, steps onto the DIVING BOARD and walks out to the very tip. Then, bending his legs, he springs straight up into the air .. . CUT TC:

THE UNDERSIDE OF THE DIVING BOARD

Something is stuck there. Something LUMPY and GRAY, like a big slak of Play-Doh.

PRICE'S FEET

come down HARD on the board ~~ which BLOWS TO SMITHEREENS...

‘¢@

&4

A SHATTERING EXPLOSION

that rocks the morning stillness -~ SPRAYS water high into the air -- and BLOWS OUT every window in the house. A FIRE BALL climbs toward the sky.

. Benedict hears the DISTANT EXPLOSION.

Cavanaugh comes out the front door and TRIPS over a

tiny silver WIRE stretched a foct above the ground

» « « and the front of the house Getonates -- a SHATTERING EXPLOSION that rends it to pieces.

Cavanaugh STAGGERS cut of the flames ... dazed... bloody . . . STUMBLING toward his car .. . groping blindly . . . reaching out for the door g@andle... pulling it open .. . BAM! Another EXEL SION. More powerful than the first.

Qt

Cavanaugh and his auto are Dlogn to kingdom come.

CcuT TO:

As Benedict and Wyler hear these additional explosions.

Benedict steps BEHIND Wyler.

Benedict places the barrel of his gun AGAINST THE BACK OF WYLER'S HEAD AND FIRES. He tosses away his cigar butt and exits.

Benedict emerges from the house and strolls casually away, hands in pockets.

SIRENS can be heard in the distance.

CAMERA PULLS UP, UP, UP .. . until we see the entire neighborhood . . . and TWO LARGE PLUMES OF SMOKE rising

into the sky.

CLOSE ON RIGGS. And there's a look of great anguish

in his eyes because Wyler's body is kteing taken down

from the Gravity Inversion Bar by UNIFORMED POLICE OFFICERS. The house is CRAWLING with COPS.

Then, Riggs sees scemething on the floor. He bends down and picks up Benedict's discarded cigar sttyo

Wyler's covered body is being plackd into the Coroner's Van. Riggs comes out of the house with the cigar stub in his hand. Captain Murphy comes up to him, sees what he's holding. ,

Murphy signals for a HOMICIDE DETECTIVE to place the cigar stub into a plastic evidence hag.

i

So saying, Riggs turns on his heels and heads for his truck parked at the curb. Murphy regards him with a troubled expression.

Jill Townsend is at the produce bins, hand selecting vegetables that she places in the small plastic basket hooked over her arm. She becomes aware of scmebody standing behind her. She turns... it's Riggs.

RIGGS go® And to thank you... “Q2

Riggs doesn't answer directly. He just gives her a sly smile.

JILL

There are a lot of things I don't like about my boss .. . and my country . . . but I like my job very much,

She moves to the next bin. Riggs moves with her.

Shop a day at a time, huh?

Riggs takes the basket from her hand. His expression is intense. He's not charming and he's not flirtatious. He's just direct.

RIGGS ge Have dinner with me. ; IN)

At Jill is intrigued by him, but she make no reply.

(beat)

I'm a gourmet cook.

Riggs and Jill enter the cramped trailer through the sliding glass door. The expression on Jill's face acknowledges the disparity between her expectations and what she now sees.

. JILL You must Fe an honest cop, Martin Riggs. RIGGS

Disappointed?

G8.

She looks at the sunset through the sliding glass door. The sky is a firey shade of orange.

Riggs comes up behind her.

RIGGS

Oil drilling platforms.

(beat) Sometimes at night, it gets sc dark you can't see your own hand in front of your face. The sky and the ocean are completely black, and the only things you can see are those Grilling platforms ten miles out to sea, Twinkling like Christmas trees.

During this, Riggs has placed his hand on her shoulder. Jill turns, tilts her head up tong Riggs and gives him a knowing smile.

sat This is a sedugtion, isn't it? RIGGS What do you mean? ,. .. why do you Say that? JILL

You're trying to sweep me off my feet ...

“RIGGS

MayLe.

JILL

Wrap me around your finger .. .

un

of

I know what's going on. You can't get to Rudd. He's hiding behind

his diplomatic credentials. You

think I can help you in some way. Right?

JILL g° Yes. Afterwards ..

She puts her arms around hi Steck and kisses him on

the mouth. Riggs respondsy sliding his hands up her back. Jill breaks off the”kiss, pushes away from him and pulls closed the curtains on the sliding glass door.

Sure I am. Says so right on the frozen food container.

She begins to unbutton her dress. Riggs turns toward the bed ~- sees SAM curled up asleep -- SLAPS him on the rump.

sam hops off the bed and exits the trailer through the floor Doggie-Door. Riggs throws back the blankets,

-€xposing the sheets.

When he turns back toward Jill, she is moving towards

him, her dress loose and cpened, falling off her shoulders. Riggs slides his hands under her clothing and pulls

her down to the bed.

A GRUMMAN ALBATRCSS comes in low over the ocean. The pilot kills the engines and it glides in, smooth and Silent.

It slides into the water on its belly, trailing behind it a wake of rippling moonlight.

CLOSE ON THE ALBATROSS

as FOUR SOUTH AFRICAN HITMEN hop out wearing wet-suits and carrying automatic weapons. They wade through the surf toward shore.

Jill is under the sheets. - Riggs f@ sitting on the bed, naked ~~ cigarette in one hay a COMPUTER CHIP in the other.

at&s + « « it goes iro the car's alarm system. It sends out a signal that the police can follow. In case the car gets stolen.

RIGGS

Yes. Tonight. Can you get me in?

The Hitmen walk up to Riggs' trailer and form @ line parallel to it. They hold their weapens in position.

The silence of the night is suddenly shattered by an ERUPTION OF AUTOMATIC GUNFIRE. The sliding glass door EXPLODES, blowirg a thousand sharp projectiles through the trailer.

qi

Riggs pulls Jill te the floor.

Both are naked. Riggs grabs his jeans, wiggles into them. Jill clutches her dress.

MACHINE GUN FIRE TEARS through the trailer's metal sides. The NOISE is deafening . . . Wood cabinets are CHEWED

into SPLINTERS . . . Windows DISINTEGRATE like bursting soap bubbles .. . Appliances are PULVERIZED. Everything is being DESTROYED; DEMOLISHED; CONSUMED in a hail of blazing weapon's fire,

The Hitmen SPRAY the trailer with gunfire. As one clip is exhausted, they calmly and methodically slap in another.

The FUSSILADE seems never ending. The trailer is literally being TORN and SHREDDED apart. The ceiling begins to COLLAPSE as the metai sides BUCKLE and BEND under the punishing attack.

Riggs and Jill have flatened thefiselves against the trailer's floor. Automatic waapons fire WHI2ZZES only inches above their heads.

Riggs’ hand reaches up fox Wis Beretta and shoulder holster, GRABS IT. Pullg it towards him. Now, he begins to move across the Tiloor on his stomach, pulling Jill with him... inching their way toward the floor Deggie-Door.

UNDERNEATH THE TRAILER

Riggs and Jill emerge from the BDoggie-Dog. The area under the trailer is less than three feet high. Above, the DEFEANING BARRAGE of GUNFIRE continues without let

up.

Jill struggles into her dress. Riggs digs into his pants pockets for his truck keys. He gives them to Jill and gestures for her to get moving.

JILL

crawls out from under the trailer on the side opposite the attack.

F2

RIGGS

crawls out in the other direction. Moving rapidly on his stomach across a sand dune like the trained Special Forces Commanco that he once was.

He COMES UP BEHIND THE Hitmen. He takes a Geep breath, then RISES UP into a shooting position. BAM. BAM. BAM.

Three Hitmen drop like marionettes with their strings cut. But the Fourth Hitman TURNS and SPRAYS a VOLLEY of MACHINE~GUN FIRE in Riggs! direction.

Riggs leaps and rolls to the side. The Hitman advances, machine-gun CHATTERING. Then .. . the ROAR OF A TRUCK ENGINE. The BLINDING GLARE of headlights,

RIGGS'S PICKUP TRUCK

HURTLES out of the darkness, fishtailing through the sand. A fender SLAMS the Hitman from behind, throwing him twenty feet in the air. He comes down hard on his shoulder.

Riggs scrambles to his feet, The Pickup ROARS down

on him. The passenger door flies open. The truck dcesr't Slow down. Riggs GRABS the open dog’? SWINGS his body into the cab. Q

The Hitman climbs to his knees. (WwHe FIRES at the departina truck. 1®

Jill is behind the wheel. Riggs SEES SOMETHING in the SIDE MIRROR.

SAM IS RUNNING after the truck as fast as his four short legs will carry him, Machine-gun fire KICKS UP SAND

all around him. The truck slows down just enough, allowing Sam to LEAP ONTO THE TAILGATE and climb into the cargo bed.

Riggs and Jill stand across Wilshire Blvd. from the Consulate.

. RIGGS What about the video camera cver the door?

We HEAR the KEY IN THE LOCK. The door opens and Riggs and Jill enter.

Jill goes immediately to the KEY PAD on the wall and punches in the code. The RED LIGHT turns OFF...

and the GREEN LIGHT comes ON . . . indicating that the system has been disarmed.

She leads him down a SERIES OF cagRrpors until reaching the Parking Garage Door. The ddr requires another key. She opens it for him. ry

They enter the garage. Rudd‘s Mercedes is the only car there. Riggs slides in, POPS the HOOD LATCH.

Rudd lives in the building's top floor. He's at the bar, pouring a drink. Benedict is there with him.

(We NOTICE that there is another KEY PAD on the apartment wall, and the GREEN LIGHT is glowing.)

Riggs is done. He closes the hood of the Mercedes.

Benedict crosses the room. He sees something that troubles him.

Benedict indicates the GLOWING GREEN LIGHT on the key pad.

BENEDICT! Someone's shut off the alarm.

For a moment, they just stare at each other. Then, the RED LIGHT COMES ON AGAIN.

Riggs and Jill emerge quietly from the Consulate's front door. As she closes it behind her, the RED LIGHT on

the VIDEO CAMERA comes on, indicating that the camera

is now in use,

Riggs and Jill don't notice this.

Benedict and Rudd look into the MO@{TOR. Riggs and

Jill can be seen turning away f the front door and going down the steps toward the reet. Ly RUBD Jill Townsend. %y BENEDICT She's with Riggs! I can't believe this guy -- he's got more fucking

lives than a cat!

A 30's Style stucco apartment building. Like the ones off Olympic Blvd. in Beverly Hills.

Riggs walks Jill to her apartment door.

He gives her a kiss.

Riggs sighs to himself.

Riggs hurries back to his Truck. But he never makes

BENED:CT EMERGES from the shadows of the bushes, looming up behind Riggs with an automatic m¥le in his hands.

He SLAMS the butt end against theQBACK OF RIGGS' HEAD. IMPACT. Riggs goes down hard. g SOUND FADES in and out. The stars above, the yard, thé)trees, the streetlamps, SWIRLING and SPINNING. xy

TWO HITMEN appear. Benedict directs them toward Jill's apartzent with the wave of his hand.

Murtaugh and Leo are sitting on the scfa. The TV is playing, but nobody is watching . . . because Leo is reviewing Murtaugh's TAX RETURNS.

q

(beat) If you buy yourself some food during a Stake-out .. . get a receipt and take a deduction.

(beat) You.use your own credit card to buy gas after a high-speed chase...

get a receipt and take a deduction.

Murtaugh begins to collect his returns, putting everything back in a large envelope. Leo brings up a subject that has clearly been haunting him:

| MURTAUGH Could be, Leo. Could Oe:

LEO % That's good. Becasse I've learned my lesson. From now on, it's the straight and narrow for me.

As he gathers up his tax records, Murtaugh comes across a piece of paper that gives him pause. He's so preoccupiec with it, that Leo notices.

boat ...

Murtaugh remains distracted by the Bill of Sale in his nand. Something is going on with him, the wheels are turning in his head.

Once Leo is gone, Murtaugh goes to a shelf where VIDEO TAPES are stored and takes cne down.

He puts the tape into the VCR and presses PLAY. This is what we see:

THE MURTAUGH FAMILY OUT ON THE BOAT.

There's Nick clowning around on deck. And Rianne posing in her bikini. There's Murtaugh wearing a Captain's Hat and waving at the camera. S , ma.) Murtaugh presses FAST FORWARD andadvances the tape; searching. Le “% RTAUGH Where is it? Where is it? ...

Leo enters. The shower curtain is drawn across the tub. Leo pays no attention to this, but he is curious about the OPEN BATHROOM WINDOW.

As he approaches to take a closer look, the SHOWER CURTAIN is quietly pulled back and a South African HITMAN STEPS OUT OF THE TUB.

Leo turns .. . but all he gets to see is the SHOWER CURTAIN being LOWERED over his head -- wrapped around his neck -- and pulled tight, shutting out the air.

Leo's being ASPHYXIATED by the Hitman. He flails his arms and kicks his feet, but he's no match for the Hitman's

superior strength.

Murtaugh continues to Fast Ferward through the tare. Then he stops .. . rewinds a little . .. plays it forward.

We see what looks like more cf the same; the Murtaughs at play on the family boat. But Murtaugh sees something that we don't. He rewinds. Plays it again. Bends

in close. Rewinds. Plays it again. Slow mcticn.

Very clese to the screen. Looking hard. Rewinds.

Plays it again. One frame at a time.

What's he looking at? In the background of one shet

is a FREIGHTER. A great big ocean-going carge ship.

And the name painted on the Freighter's bow is: NCRA DANE.

Murtaugh actually touches his finger to the screen right where the name appears.

MURTAUGH © (smiling) Q Nora Dane. 8

a , Then: Murtaugh sees a REFLECTSON IN THE TV SCREEN. Someone behind him! He whigls around -- finds himself face to face with the SOUTH AFRICAN HITMAN.

Be doesn't think -~- he just reacts. He THROWS A PUNCH against the Hitman's jaw.

The Hitman is propelled backwards against the wall,

but BOUNCES BACK WITH A VENGEANCE. He overwhelms Murtaugh with a series of Martial Arts KICKS and JABS that fairly _ WHISTLE through the air.

Murtaugh is beaten back into the: HOBBY ROOM

Where he CRASHES to the floor within inches of the the CARPENTER'S TOOLS.

The Hitman advances. Murtaugh SWINGS UP his arm, the PNEUMATIC NAIL GUN in his grasp. BAM! He fires a nail. THUNK! Right between the Hitman's eyes. The expression of surprise on his face is almost comical. He sinks

to his knees and keals over onto his face.

“ad ‘@

Murtaugh staggers to his feet, head reeling. Holding his side, he stumbles back into:

TREE LIVING ROOM

Only to see a SECOND HITMAN approaching from across the room with a KNIFE in his hand. It takes Murtaugh a moment to bring him into focus.

The Hitman comes forward slowly, like a predatory animal stalking wounded prey. Murtaugh rocks back and forth

on his heels, still unsteady from the beating he just

took. He raises the Nail Gun -~ points it at the approachir« Hitman and fires ~~ BAM!

The Hitman grabs a small END TABLE by the legs and uses its top as a shield. THUNK. The nail sinks into the

wood.

The Hitman keeps coming. Holding the table in front ef him. Murtaugh AIMS LOWER -- BAM! . . . The Hitman lowers the table -- THUNK . . . Murtaugh AIMS HIGHER ~~ BAM! . . . The Hitman raises the table ~- THUNK.

And that's the last nail Murtaugh ges to fire, because the Hitman is now right on top of Bym -- SWINGING the table through the air -~ SMASHING it against Murtaugh's skull. -~®

Muzrtaugh's knees buckle, but Yhe doesn't go down, The Hitman RUSHES HIM, his knife pointed toward Murtaugh's

They struggle. We HEAR the nail gun discharge: BAM! And the Hitman staggers backwards and falls ...a NAIL THROUGH HIS HEART.

Murtaugh charges in.

But all he finds is the torn shower curtain and the open window.

Ne

/od.

CLOSE ON A HAND as it sweeps up a BEER CAN. Shakes

it. Shoves it under the nose cf .. . LEC GETZ. The

hand SNAPS THE TAB. Beer EXPLODES out of the can, SPRAYING up Lec's nose with great force.

Leo rears his head back in distress. CHCXES. SPITS. GAGS. GASPS for air. Beer pours from his nose and mouth. He's drowning on suds.

-CAMERA PULLS BACK to include BENEDICT. Smoking one

of his thin cigars.

Leo is TAPED to a chair, like Trish and Murtaugh were taped to their bed. Leo doesn't answer. He blows beer out of his nose and tries to clear his throat. Benedict grabs another beer and shakes it up.

He shoves the second beer under Leds nose. Lec tries to turn his head away, but a Sou African Hitman forces it back around, Benedict POPS, _TAB with the same results as before. .

*y

Leo chokes, spits and nearly diés.

CAMERA PULLS BACK to include RIGGS. Seated next to Leo. Also taped to his chair, but with his mouth taped shut. as well. And Riggs is SCREAMING IN ANGER behind the tape.

Benedict RIPS it off.

JO {

Riggs SPITS in Benedict's face. Benedict SLAPS Riggs hard.

BENEDICT

All right, you little shit. Now I'm gonna tell you something that's gonna blow your fucking mind! You ready for this, because this is gonna make you come unglued!

(beat) Four years ago when you were working as a Narc in Long Beach, there was a contract out on you and I handled it. That's right, I ragyour fucking car off the road. onlgsyou weren't in it!

(beat) oh Imagine my surpris® when I pulled back this matted4Amop of blood~soaked hair and saw a woman's face.

(beat) She didn't die right away, either. She took awhile.

Benedict was right .. . Riggs is coming unglued. His face flushes. The veins in his neck pop out. Ke struggles against the tape that holds him down.

e

/0 2.

The boat bobs in the water. Riggs is on deck, wearing a VEST made of METAL CHAIN with LEAD WEIGHTS attached to it.

The two South African Hitman wrestle Riggs to the boat's gunwale. Riggs struggles and kicks. The Hitmen FOUND him a few times in the face.

Riggs coughs and spits blood through now swollen lips.

The South Africans CLOBBER Riggs igwhe face some more, then DUMP HIM OVER THE SIDE, ’ Q?.

UNDERWATER o

Riggs' weighted vest PULLS HIM STRAIGHT DOWN, fifteen

feet, to a sand bar below. The water's cold and dark. We can barely make out Riggs. He HITS BOTTOM, raising a cloud of sand in the water. DIMLY SEEN OBJECTS sway lazily in the current.

ABOVE WATER - IN THE BOAT

One of the South Africans angles a SEARCHLIGHT down toward the water,

UNDERWATER

Suddenly flooded with LIGHT. Jesus Christ! We get

the shock of our lives . .. those "dimly seen objects" turn out to be CORPSES! And Riggs is right in the middle cf them.

All in varicus stages of decomposition and wrapped in chains. Rolling and shifting with the ocean current. Staring up from dead, fish-eaten faces. Clothes retted away in tatters. Some little more than skeletons.

Except one .. . JILL! .. . still beautiful, even in ceath. Her naked body white as marble.

Riggs can't believe his eyes. Horror and pain fill his expression, But now he fights back harder than ever.

ABOVE WATER ~ IN THE BOAT

The Two South Africans peer into the water, see the TURBULENCE below, the signs of struggle.

HITMAN TwO How long?

UNDERWATER

Riggs thrusts against the chain vest, pulling it tight across his back -~ POP! -~ dislocates hj houlder. A silent scream of agony as the chains ip and loosen.

ABOVE WATER - IN THE BOAT Qe

The South Africans look over the )port side of the boat when Riggs EXPLODES OUT OF THE WATER on the starboard side, He leaps into the boat like a mad demon, one arm hanging limp.

The South Africans turn, but don't have a chance, Riggs is upon them before they know it. And he kills them both . . . TWISTING THE NECK of one .. . SNAPPING the other's BACKBONE over his knee.

And then, Riggs releases a PRIMAL SCREAM of anguish and pain as he JAMS his SHOULDER back into its socket by SLAMMING it against the wheel-house wall.

cur TO:

We don't know exactly what's going on here.

Riggs is wrapping a HEAVY CHAIN around something that resembles a telephone POLE,

/O¢.

MLURTAUGH IS WITH HIM. The two men exchange a lock that is GRIM and DETERMINED,

Murtaugh drives away in his Police Sedan.

Riggs watches him depart, then climbs into the cab of his truck. He turns on the ignition and FLOORS THE GAS PEDAL.

The BACK TIRES SPIN MADLY in the soft dirt... the motor ROARING.

Benedict hears the ROARING TRUCK MOTOR from the canyeon below and comes cut onto the deck. He peers down into the darkness,

Riggs has wrapped the chain around the CORNER STILT that supports the house. The other end of the chain is attached to the Truck .. . and Riggs is pulling the house down!

Benedict has only a moment to register a look of alarm before a LOUD CRACK echoes across the ggnyon, and the deck begins to LIST and SWAY beneath Wis feet. —

gt

All hell has broken loose. Thg house has begun to SHIFT! The SOUNDS of timbers CRACKING;”nails CREAKING as they bend and pull free; plaster BREAKING; windows SHATTERING; water pipes BURSTING; gas lines RUPTURING.

-MURTAUGH RUSHES IN from the front door.

TWO SOUTH AFRICAN GUNMEN enter from the hallway. EVERYONE FIRES AT ONCE -~ BAM! BAM! BAM! BAM! When the smoke clears, only Murtaugh is left standing.

BENEDICT

sees Murtaugh inside the house. He RAISFS HIS GUN and FIRES . .. but the shot goes wild because Benedict has literally DROPPED FROM VIEW as...

THE HOUSE SNAPS IN TWO!

The half supported by stilts (the half that Benedict

is standing on) SLIDES DOWN THE CANYON. The rest of

the house, the portion built on solid ground at the

top of the canyon, remains behind. (This is where Murtaugh is.)

e

/0S

The SLIDING PORTION OF THE HOUSE plows a wide swath through the trees and underbrush as it CRASHES down into the canyon in a cloud of DUST and DEBRIS.

INSIDE THE HOUSE

Benedict clings to a doorway with both hands as FURNITURE FLIES past him. Then he sees something out the opening where the deck's sliding glass doors used to be:

The house is on a collision course with the TRUNK OF A DEAD OAK TREE. It protrudes from the ground at a

45 degree angle. Benedict SCREAMS as the house RUSHES toward the tree trunk. SMASH! The tree trunk RIPS THROUGH THE HOUSE with tremendous force, halting its forward progress down the canyon.

RIGGS HOPS FROM HIS TRUCK

He is triumphant. The only man in the history of the L.A.P.D. ever to have brought down a house.

Riggs enters with his Beretta leveled. He chokes on

the dust. It's so thick he can hardly see. The place has been DEMOLISHED. It doesn't even resemble a house anymore. Especially with this ENORMOUS TREE TRUNK taking up so much room.

Riggs picks his way through the debris. And then he SEES BENEDICT: PINNED between the tree trunk and the wall. Only his his upper body is visible . .. and he's in agony. Riggs approaches him cautiously.

Benedict stares down at Riggs. His eyes glassy, but filled with hate.

Riggs regards him with loathing. Benedict struggles

to bring up his arm. He's still holding his pistol.

He tries to aim it at Riggs, but doesn! t have the strength to pull the trigger.

The gun slips from his hand, and he dies with his eyes wide open.

JOG

Leo (still taped to a chair} sits in the GAPING HOLE where the house split apart ~- his chair practically TEETERING on the edge. He'd be enjoying a PANORAMIC VIEW of the canyon and beyond, except for the fact that his eyes have been taped shut.

Murtaugh rushes to his rescue. He pulls Leo's chair away from the brink of disaster, then gently removes the tape from his mouth and eyes.

Murtaugh indicates the gaping hole in the house. Leo turns to see it .. . and jumps to a very logical conclusion:

As if on cue, Riggs STRIDES IN.

Riggs shakes his head, no.

You want Rudd next?

Murtaugh pulls off the tape from Leo's ankles and wrists. Leo stands up. Wiggles his fingers to bring back the circulation.

Jo7

Riggs and Murtaugh exchange a look.

MURTAUGH

Sure . . . any ideas how to find him? Riggs just smiles.

Riggs' Pickup Truck speeds across the high, arching bridge that crosses the L.A. Channel near the mouth of the Harbor.

Riggs is behind the wheel. Murtaugh and Leo are squeezed into the seat next to him.

A FLASHING, BEEPING RED LIGHT on a RECEIVING UNIT attached to the dashboard is directing Riggs toward Rudd's Mercedes.

The letters "N- 0- R- A-D-+ A-N - E" come INTO FRAME one at a time as the CAMERA PANS across the bow of the ship.

The ship is docked beside a LOADING PIER. We see Riggs' Pickup Truck traveling slowly down the pier.

As they drive down the pier, the BEEPING SOUND grows LOUDER and LOUDER.

/08

Riggs, Murtaugh and Leo climb out of the Pickup. They have parked beside an area where GIANT STORAGE CONTAINERS rest on FLAT~BED TRUCKS awaiting loading onto cargo

ships. (Note: These Containers are enormous. They're

as large as the trailers of the biggest eighteen wheelers.)

Riggs carries the Receiving Unit in his hand. The BEEPING LIGHT is going wild.

As they move toward the Container, Murtaugh notices that Leo is tagging along.

MURTAUGH

Didn't I tell you to wait in the truck? LEO

No. MURTAUGH

Well, I meant te.

During this exchange, Riggs has climbed onto the bed of the truck on which the Container is resting.

Murtuagh forgets about Leo, and hurries onto the flatbed truck to join Riggs. Leo is right behind him.

Riggs indicates a STICKER attached to the CONTAINER DOORS.

[09 -

Riggs FIRES TWO SHOTS into the lock. Then they swing open the doors.

Riggs, Murtaugh and Leo are confronted with a STACK

OF BUNDLES. These bundles ~~ which are perfectly square and wrapped in brown paper ~~ rise to ceiling of the Container.

MURTAUGH

Close the doors.

Leo SHUTS the doors behind them. Now they're in the DARK.

Riggs WALKS AROUND the large stack of bundles and finds what he knew would be there: RUDD'S MERCEDES.

He opens the door and turns on the HEADLIGHTS. Now the Container is filled with a HARSH LIGHT that casts EERIE SHADOWS against the Container's walls and ceiling.

Riggs returns to help Murtaugh and Leo RIP AWAY the brown paper wrapping. And this is what they discover underneath:

MONEY! BUNDLES and BUNDLES of it. STACKS and STACKS of it. ROWS and ROWS of it. TWO THOUSAND CUBIC FEET of U.S. Currency in 20, 50, 100 and 1000 Dollar demoninations.

HO.

Murtaugh holds a WRAPPED BUNDLE in his hand.

Silence. Riggs, Murtaugh and Leo all share a look, RIGGS When I turn my back, Roger, you can do anything you want. Riggs moves off, leaving Murtaugh to battle the demons of his conscience. Murtaugh glances at the money, then at Leo, then tosses the money back.

Leo is impressed by Murtaugh's honesty.

Hf.

Rudd and TWO SOUTH AFRICAN HIT MEN walk down the pier toward the container. Rudd looks upset. He glances at this watch.

Nobody answered. The phone was out of order.

This news makes Rudd grow visibly nervous. RUDD We can't wait any longer! Load the container!

RIGGS We've got to make sure this Container doesn't go anywhere.

Suddenly, they feel something.

The Container is being driven down the pier on the Flat-Bed Truck toward the loading area.

Rudd and the Two Hit Men walk along beside it.

Riggs, Murtaugh and Leo peek out the crack where the doors Meet. They can't see anything except the pier passing beneath them.

MURTAUGH

We're partners.

Then, they come to a stop.

MURTAUGH

You keep changing your mind.

Murtaugh pushes on the doors, but they DON'T MOVE,

[[2-

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[|D-

It's now parked beneath the LOADING CRANE. (This is a huge four-legged crane that's as tall as a five-story building. It straddles the entire width of the pier.)

A Traveling Carriage, called a CRAB, is lowered from above. It GRABS HOLD of the Container, preparing to hoist it up.

Riggs and Murtaugh hear the NOISE OVERHEAD as the Crab CLAMPS onto the Container.

What the hell was that?

Now they feel a very strange sensation as the Container is LIFTED UPWARD.

Murtuagh puts his shoulder into the doors and they SWING OPEN. But now they're FORTY FEET IN THE AIR.

One of the Hit Men LOOKS UP .. . SEES Murtaugh in the open Container doorway.

Murtaugh jumps back from the opening.

This is followed by the SOUND. OF MACHINE GUN FIRE as bullets RIP UP through the bottom of the Container.

ka

The two Hit Men aim their weapons in the air, SHOOTING UP into the Container.

Rudd SHOUTS up to the OPERATOR'S CAGE to have the Container lowered.

GUNFIRE TEARS THROUGH the bottom of the Container. Riggs, Murtaugh and Leo manage to dodge the bullets, but they know the odds are against them.

Inspiration strikes Martin Riggs:

Riggs climbs in behind the wheel. Next to him is Murtaugh. Leo in back, as usual.

Riggs pulls a cluster of wires from under the dashboard, crosses the right ones and the MOTOR FIRES UP.

All Riggs and Murtaugh can see out the windshield is a WALL OF MONEY .. . but they know there's a pair of cargo doors on the other side.

‘EXT. THE PIER

Rudd and the Hit Men watch as the Container is lowered.

It's coming down. Thirty-five feet high... thirty feet .. . twenty-five feet...

Riggs has the gear in neutral and the pedal pushed to the floor. The Mercedes' motor is literally SCREAMING at 5,000 RPM's -- the NOISE RESONATING within the metal Container.

Suddenly, they feel the Container jerk to a stop.

With the MOTOR RACING . .. Riggs jams the gear shift lever into Drive .. . and the Mercedes ROCKETS FORWARD,

The Cargo Doors EXPLODE OPEN and the Mercedes FLIES OUT . . . PUSHING 2,000 Cubic Feet of MONEY ahead of it.

One little problem. . . the Container hasn't reached the pier yet. Something got stuck. It's still SUSPENDED FIFTEEN FEET IN THE AIR. —

As the cloud of money clears, Riggs, Murtaugh and Leo realize that the pier is well below them.

RIGGS, LEO & MURTAUGH Oh, shhhhhitttt!!!

Rudd and the Hit Men look up to see an AIRBORNE MERCEDES

emerging through a FLURRY OF CURRENCY .. . and it's coming right at them.

Rudd STUMBLES BACKWARDS. The Hit Men DIVE for safety.

HG

The Mercedes CRASHES DOWN onto the pier. The SOUND OF IMPACT is tremendous, but a Mercedes is built like a tank, and the car remains intact.

The Hit Men scramble to their feet. RIGGS AND MUZTAUGH

leap from the car with GUNS BLAZING. The Hit Men don't get off a shct ~- both of them are BLOWN AWAY.

RUDD

looks dazed @¢s MONEY FALLS FROM THE SKY and lands all around him. Some of it is caught by the wind, and sent swirling dow: the pier.

Riggs marches up to him.

Rudd stares at Riggs with a pathetically bewildered expression. Riggs turns his back on him, SNATCHING A HUNDRED DOLLAR BILL out of the air.

Murtaugh smiles . . . and then his expression changes to one of horror because Rudd has PULLED A KNIFE and he's rushing up behind Riggs with it.

The warning is too late. Rudd STICKS the knife into Riggs' back right above his hip bone ~- then pulls it out again.

Riggs' eyes go wide as a SHOOTING PAIN, like a thousand volts of electricity, courses through his body. He STAGGERS toward Murtaugh and Leo with an alarmed, uncomprehending expression on his face.

He falls inte Leo's arms. Leo holds him up, keeps him from falling.

Murtaugh SWINGS UP HIS PISTOL in a two-handed grip. He is seething ~- guaking -- with a blind fury as he points the gun at Rudd.

Rudd holds up his DIPLOMATIC CREDENTIALS like a shield in front of his face.

Murtaugh FIRES! The bullet TEARS A HOLE through Rudd's credentials .. . then tears a hole through Rudd's head, the impact propelling him backwards.

Leo craddles Riggs in his arms. Murtaugh bends down to him,

MURTAUGH

Take it easy, buddy. You been stuck before. You been stuck before.

Murtaugh and Leo exchange a worried expression as SIRENS of APPROACHING POLICE CARS are heard in the distance.

SAME SCENE ~ MINUTES LATER The pier is SWARMING WITH COPS now. Riggs is being placed inside an AMBULANCE. Murtaugh hops in with him. The doors close. The Ambulance SPEEDS OFF. LEO IS LEFT BEHIND

He watches the Ambulance depart. In all the confusion, nobody pays any attention to him. He SLIPS AWAY. .

DISAPPEARING into the crowd.

é

A PARAMEDIC attents to Riggs who lies on his side, grimacing in pain. Murtaugh comforts him.

f

Murtaugh stops in mid-sentence. Riggs' eyes have fluttered shut.

Riggs sure looks dead. The Paramedic urgently checks for signs of life.

Murtaugh has never looked more relieved in his life.

This is where the SAFETY DEPOSIT BOXES are kept. A

MAN enters. We can't see his face. His collar is turned up. He wears dark glasses and a hat with the brim pulled down.

He proceeds to empty the contents of two large boxes into a Suitcase. Of course, we're talking about money. SEVERAL HUNDRED THOUSAND DOLLARS in large demonination bills.

The Man emerges from the vault area with his heavy suitcase. He only takes a few steps before he's GRABBED BY BOTH ARMS.

It's Riggs and Murtaugh. Riggs has him by one arm; Murtaugh by the other. Riggs removes the man's hat. Murtaugh removes his sunglasses.

It's Leo. And he looks surprised.

(7.

Leo is very uncomfortable. He looks around in all directions.

MURTAUGH

Sure. What about my car? It's parked right outside.

That's when they SNAP THE CUFFS on him. LEO Oh, no. C'mon, guyS. Gimme a break. After all we been through. Don't do this to me.

They take him out.

They guide Leo into the back of the Police Sedan parked at the curb.

Murtaugh drives. Riggs next to him. Leo in back. The car pulls away from the crub.

to the Feds anymore. Everybody who I was gonna testify against is dead. You guys should know that’ ~~ you're the ones who killed ‘em!

The Police Sedan races South on the Freeway.

Leo looks out the window with an alarmed expression.

RIGGS & MURTAUGH Shut up, Leo.

Traffic is backed up for miles in both directions as autos crawl through the CUSTOMS STATIONS.

Murtaugh's Police Sedan, however, slides into a special lane for Official Vehicles. Murtaugh flashes his badge and he is waved through.

The Police Sedan pulls off the road and parks. The car's front doors fly open and Riggs and Murtaugh jump out.

Now they remove Leo from the back seat, along with his suitcase. Leo regards them expectantly .... and a little apprehensively. -

Riggs REMOVES THE CUFFS from Leo's wrists.

Riggs turns, puts two fingers into his mouth and WHISTLES.

(Lf.

Twelve year-old PEPE comes over leading a BURRO on a rope. The Burro is pulling a two-wheeled CART. Riggs loads the suitcase into the cart.

Lec looks overwhelmed. Murtaugh reaches out to shake his hand.

But instead of shaking hands, Leo gives Murtaugh a hug. Murtaugh looks embarrased.

Now Leo turns to Riggs.

Leo gives Riggs a hug. Riggs WINCES in pain.

Leo steps back.

Riggs and Murtaugh climb into the car. Murtaugh starts up the motor. Riggs leans out the window.

And then, the Police Sedan peels away in a thick cloud of Mexican dust as Leo watches, Silently waving his

hand.

END

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