L E T H A L W E A P O N
by Shane Black
FADE IN:
CITY OF ANGELS
lies spread out beneath us in all its splendor, like a
bargain basement Promised Land.
CAMERA SOARS, DIPS, WINDS its way SLOWLY DOWN, DOWN,
bringing us IN OVER the city as we:
SUPER MAIN TITLES.
TITLES END, as we --
SPIRAL DOWN TOWARD a lush, high-rise apartment complex.
The moon reflected in glass.
CAMERA CONTINUES TO MOVE IN THROUGH billowing curtains,
INTO the inner sanctum of a penthouse apartment, and
here, boys and girls, is where we lose our breath,
because --
spread-eagled on a sumptuous designer sofa lies the
single most beautiful GIRL in the city.
Blonde hair. A satin nightgown that positively glows.
Sam Cooke MUSIC, crooning from five hundred dollar
SPEAKERS.
PASTEL colors. Window walls. New wave furniture tor-
tured into weird shapes. It looks like robots live here.
On the table next to the sleeping Venus lies an open
bottle of pills ... next to that, a mirror dusted with
cocaine.
She rouses herself to smear some powder on her gums.
As she does, we see from her eyes that she is thoroughly,
completely whacked out of her mind...
She stands, stumbles across the room, pausing to glance
at a photograph on the wall:
Two men. Soldiers. Young, rough-hewn, arms around each
other.
The Girl throws open the glass doors ... steps out onto a
balcony, and there, beneath her, lies all of nighttime
L.A. Panoramic splendor. Her hair flies, her expression.
rapt, as she stands against this sea of technology. She
is beautiful.
On the balcony railing beside her stand three potted
plants.
The Girl sees them, picks one up. Looks over the balcony
railing ... It is ten stories down to the parking lot.
she squints, holds the plant over the edge.
GIRL
Red car.
Drops the plant. Down it goes, spiralling end over end
-- until, finally ... BAM -- ! SHATTERS. Dirt flies. A
red Chevy is now minus a WINDSHIELD. The Girl takes
another plant.
GIRL
Green car.
She drops it. Green Dodge. Ten stories below, BAM
Impact city. Scratch one paint job. Grabs the final
plant and holds it out, saying:
GIRL
Blue car.
POW. GLASS SHATTERS. Dirt sprays. A blue BMW this
time. The Girl loves this game ... her expression is
slightly crazed. She reaches for another plant --
There aren't any. Her smile fades -- And for a moment,
just a moment, the dullness leaves her eyes and she is
suddenly, incredibly sober. And tears fill her eyes as
she looks over the edge --
GIRL
Yellow car.
And jumps the railing. Plummets, head over heels like a
rag doll. Hits the yellow car spot on. She lies, dead,
like an extinguished dream. Still beautiful.
CUT TO:
1A EXT. BENEATH THE PIER NIGHT 1A
FOUR TOUGH-LOOKING DOCK WORKERS are camped out under the
pier, warming themselves around a small bonfire, laughing
loudly. Christmas decorations dangle above them from the
pier, and empty beer cans litter the sand around them.
CAMERA PUSHES IN to discover an old collie tied to one of
the pilings. Then we realize that the dog is being tor-
mented by the dock workers. They flick lighted matches
at him. Shake their beers and spray him in the face.
These guys are not rocket scientists.
The dog cowers, tugging bn the rope. Tries to get away.
All to the great amusement of its tormentors.
One of them turns, laughing --
As a shadowy FIGURE strides calmly up to the fire:
Long hair.
Cigarette dangling from-lower lip.
Shirt-tails hanging loose below the waist.
Nothing threatening in his manner as he plops down beside
the men, smiling.
They are immediately on their guard.
RIGGS (FIGURE)
Happy holidays. Mind if I join
you?
PUNK #1
Yes.
PUNK #2
Fuck off.
Riggs smiles at him innocently. Strokes the collie's fur
with one hand.
With the other, he reaches intb a paper sack and produces,
a spanking new bottle of Jack Daniels, possibly the finest
drink mankind has yet produced.
RIGGS
I need help drinking this. Cool?
The dock workers exchange glances. There seems to be no
harm in this. One of them frowns:
PUNK #1
You a homo?
RIGGS
Do I look like a homo?
PUNK #1
You got long hair. Homos got long
hair.
PUNK #3
I hate homos. Arrggh.
Riggs shakes his head, laughs.
RIGGS
Boy, you guys are terrific. You
make me laugh, you just do.
At which point, appropriately enough, Punk #4 shakes a
beer and sprays it in the old collie's face.
The DOG pulls away, WHINING.
Riggs leans forward.
RIGGS
This your dog? Nice dog.
And then, he proceeds to do a peculiar thing:
He starts to talk to the dog --
in what seems to be the dog's own language.
Very weird, folks...
He coos, snuffles, barks softly, then withdraws,
listening, his ear to the dog's muzzle.
Riggs nods. Frowns.
The others look on, puzzled.
Then Riggs looks at each of the four dock workers.
RIGGS
Huh- You know what? He says he
doesn't want you to spray beer in
his face. He says he just hates
that.
A pause. Uncomfortable. Then --
PUNK #1
Oh, he does ... ?
(beat)
Well, mister, why don't you ask
him what he likes...?
The others snicker. Riggs simply nods.
RIGGS
Okay.
And once again, begins to confer with the dog. Listens
intently, piecing together what he is hearing.
RIGGS
What ... ? You want ... oh. Oh,
hell no, I couldn't do that ...
Nossirree bob, you little nut.
He ruffles the dog's hair.
The men are more puzzled than ever as Riggs turns and
says:
RIGGS
(chuckling)
Get this: He wants me to beat
the shit out of you guys.
Everything stops. A cloud passes over the assembled
faces and a pin-dropping silence ensues.
Riggs, completely heedless, once again attends to the dog:
RIGGS
What's that ... ? The one ... in the
middle... 'is a stupid fat duck'...
What ... ?
(listens again)
Oh ... Oh! A 'stupid fat fuck!'
Right.
He looks up, shakes his head.
RIGGS
Boy, this dog is pissed.
The one in the middle grabs Riggs by the collar.
Hoists him to his feet. Gulp.
Stands, staring down at Riggs, whose eyes are completely
neutral, like a snake's.
PUNK #1
Buddy, you're shortening your
life span.
He flicks open a mean-looking switchblade.
Riggs is dead meat.
So why then, does he choose this moment to execute a
Three Stooges' routine, consisting of nose tweak, eye
gouge, and rotating fist that bobs the dock worker on
the head... ?
He's nuts or something ...
Riggs steps back and adopts a neutral fighting stance.
The others begin to circle.
The DOG BARKS. Riggs turns to the dog, but his eyes never
leave his grinning attackers.
RIGGS
(to the collie)
What's that ... ? You want me to
take the knife away... and break
his elbow... ?
Circling ...
Riggs, watching them, his eyes beginning to dance ...
Breathing slow and even...
RIGGS
But that would be excruciatingly
painful ...
Something inside Riggs is gearing up ... the others can
perhaps sense it, their smiles falter a bit, they crouch,
combat-ready...
Riggs, eyes blazing ...
RIGGS
And if I separated the fat one's
shoulder... he'd probably scream...
No doubt about it. We know from the look in Riggs' eyes
he's nuts. He wants the fight, badly, all four of them
at once ...
And then Punk #1 springs...
Big mistake.
Needless to say, mincemeat is made of the four meddlesome
dog-torturers.
The beach is littered with their writhing forms as Riggs
does, finally, what he set out to do:
Unties the dog.
Starts to go.
As he does, he pats his shirt ...
Pats his jeans ... Realizes his wallet has flown free
during the fracas.
Scoops to retrieve it from its resting place on the sand,
where it lies open, and as it lies open, yes, folks, that
is a badge we see.
Riggs, we realize, is an officer of the law.
He lights a cigarette and notices the collie, seated.
Frowns:
RIGGS
Okay, skeezix. Go on. Get outta
here.
He begins to walk away. The dog remains close at his
heels. Following him.
RIGGS
No, no. Don't follow me. I'm an
asshole. Go away.
The dog sits obediently and Riggs walks away.
He can't help it, looks back over his shoulder...
Sees the dog watching him with a beseeching expression.
Pitiful.
RIGGS
Aw, shit.
He signals the dog.
RIGGS
Awright. Move it. Let's go.
The COLLIE BARKS happily and dashes toward him through
the surf, kicking up sand and water.
As they shuffle off against the palm-lined skyline, we
hear, supered, Riggs' voice.
RIGGS (V.O.)
So. You live in the area? What's
your major ... ?
And so on as we ...
CUT TO:
2 OMITTED 2
thru thru
4D 4D
5 EXT. MURTAUGH'S HOUSE - PRE-DAWN 5
Palm trees cast shadows on the lawn. Toys, lots of them,
littered across the lawn. A Big Wheel, a G.I. Joe figure.
Christmas lights are strung across the eaves.
CUT TO:
6 INT. HOUSE - BATHROOM SAME 6
A real gun, a .38 Police Special, dangling in its hol-
ster from the back of a chair. Next to it -- A real
badge, gleaming in the light. It identifies its owner
as LAPD Robbery/Homicide.
7 ANOTHER ANGLE 7
A birthday cake comes INTO FRAME. A set of matronly
hands places it directly in front of --
8 DETECTIVE ROGER MURTAUGH 8
Seated in the bathtub. He groans, throws a towel over
himself, and mutters in mock indignation: Roger is
tough: An old-fashioned fighter, wears his past like a
scar. Piercing eyes; cynical. He is surrounded by his
family; wife and three children, names and ages as
follows: TRISH: Roughly thirty-eight. She used to be a
stunner. NICK: Ten years old. Precocious. CARRIE:
Age seven. Eyes like saucers. Adorable. RIANNE:
Heartbreaker stuff, Seventeen. Takes your breath away
folks. The cake is a real beauty.
CARRIE
Make a wish, Daddy.
RIANNE
Go for it, Dad.
MURTAUGH
(smiles)
Go for it, huh...? Okay, I'll
go for it.
He blows out the candles. Applause. His gaze lingers
on -- the cake. Or rather, the message scrawled atop it
in icing: WELCOME TO THE BIG 50
The presents arrive.
CUT TO:
9 EXT. SIMI VALLEY - MORNING 9
The scorched landscape stretches out beneath a lattice-
work of high-tension power lines. only scrub grass
grows here. Rusted railroad tracks wander into the dis-
tance, and nestled beside them, like the last stop be-
fore death -- sits a lonely trailer home. Battered TV
antenna. A dirt yard which houses a beat-up pickup
truck. Dead garden sprouting weeds. The ground begins
to tremble ... like an earthquake, RATTLING the POWER
POLES, as, without warning -- An express TRAIN BLASTS
BY CAMEPA and streaks past the trailer at seventy miles
an hour.
10 INT. TRAILER HOME 10
Now we are inside, the RUMBLING FAINTER ... And we are
looking at a tired, chiseled face. Etched with line and
shadow. Eyes closed, as the shadows from the speeding
train strobe across DETECTIVE SERGEANT MARTIN RIGGS.
Morning is not a good time for Riggs. The CLOCK RADIO
suddenly BLARES to life: "Silver Belllls ... It's
Christmas Tiiime in the City..." Riggs snaps awake
instantly. Alert. Tense. Face bathed in sweat.
11 ANOTHER ANGLE
He is not alone. In the doorway sits a thoroughly
loveable black Labrador. Sitting stock still. Star3.ng
at Riggs, watching him sleep. Tail going thump-thump-
thump on the carpet.
Riggs sits up. Stares at the dog.
RIGGS
Sam, today is the first day ...
of the rest of my life.
He lights a cigarette. Inhales.
Coughs and hacks.
The TRAIN THROBS by outside, rattling his skull ...
CUT TO:
12 INT. MURTAUGH HOME - SAME TIME 12
And it is a typical morning for Detective Roger Murtaugh.
Chaos. The TELEVISION BLARES. Young Carrie Murtaugh
wails like a banshee. Her brother Nick tells her to
shut up. Trish Murtaugh is burning eggs in the kitchen.
Roger Murtaugh enters then, fixing his tie. The follow-
ing dialogue is fast and furious, tossed over the shoul-
der as Murtaugh scurries to and fro, getting dressed:
MURTAUGH
Honey, what's this on my tie?
She looks.
TRISH
An ugly spot?
MURTAUGH
Thanks. Sharp as a pin.
TRISH
I'm thinking of going on 'Jeopardy.'
MURTAUGH
Don't take any questions on cooking.
TRISH
Thanks. I love you, too.
Carrie is still shrieking. Tears stream down her face.
MURTAUGH
Hey, kid, turn off the waterworks,
okay?
CARRIE
(points to Nick)
Daddy, he changed the channel!
MURTAUGH
NOOOOOO.
NICK
She's a crybaby, Dad.
MURTAUGH
Mind your own busines.
(nods toward the TV)
That's illegal.
NICK
What's illegal?
MURTAUGH
Can't put a dead body in an
ambulance. This 'Kojak'?
NICK
'Starsky and Hutch.'
MURTAUGH
Huh. It's illegal. Never put a
dead body in an ambulance, son,
you got that?
NICK
Sure, Dad.
MURTAUGH
Honey, where's the spot remover?
(turns to Carrie)
Young lady, stop crying or I'll
give you something to cry about.
Damn.
He dabs at his tie. Carrie screams. In the kitchen
Trish drops the eggs, swears. The PHONE RINGS. Carrie
screams.
MURTAUGH
That's it. I'm gonna give you
something to cry about.
He grabs a copy of Newsweek and hands it to her.
MURTAUGH
Starving children. See? They
haven't eaten, it's very sad.
Cry.
He moves away.
CARRIE
Daddy, you're weird ...
MURTAUGH
Thank you, Carrie. Hear that,
honey, the children think I'm
weird.
TRISH
They're bright children.
(hangs up the
telephone)
Honey, you know a man named Dick
Lloyd? Don't step in the egg.
MURTAUGH
Where's my thinking? I should've
checked the floor for egg. Dick
Lloyd ... ?
(beat)
Jesus, Dick Lloyd. What's he want?
TRISH
The office called. He's been
trying to reach you for three days
now.
MURTAUGH
I haven't talked to him in... shit,
twelve years? No, wait a minute,
that would make me fifty years old,
that can't be right.
TRISH
(smiles)
You're not getting older, you're
getting better.
MURTAUGH
Inform the children of this.
(kisses her; heads
for the door)
Forget the eggs, I'll eat later.
TRISH
Whatever.
(beat)
Honey?
(as he stops)
How come I never heard of Dick
Lloyd?
MURTAUGH
I never talked about him.
TRISH
Oh.
(beat)
Vietnam buddy?
MURTAUGH
Yeah. Vietnam buddy.
He exits the kitchen, crosses the entrance hall. Stops,
noticing Rickles the cat, who is happily munching on the
remains of Roger's birthday cake.
MURTAUGH
Hey.
He swats it aside. Pauses, his gaze lingering on the
silent message which gnaws at his guts.
THE BIG 50 ...
He comes out the front door. Flicks off the Christmas
lights, crosses to the car. Looks up, and sees -- his
oldest daughter Rianne. Jogging past. She wears an
adorable pair of dolphin shorts. Walkman headphones.
She waves.
RIANNE
'Bye, Daddy.
He waves.
MURTAUGH
(shakes his head)
Goddamn heartbreaker. She's a
heartbreaker.
CUT TO:
13 SERIES OF SHOTS - RIGGS GETTING DRESSED 13
Riggs enters the living room, naked. Scars on his back,
the kind you get from knives. Runs a hand through limp
hair. Turns on the lamp. As he does -- the TELEVISION
also springs to life; hooked to the same circuit. Pops
three aspirin from a bottle. Chews thein.
Opens a bag of peanuts, throws it to the big Lab, who
gobbles them down.
Eats a sandwich, standing in the middle of his apartment.
'Looking at the floor. What a lonely fucking guy ...
Straps on his gun. .9 millimeter Beretta, if it matters.
Throws on a jacket. Downs a shot of whiskey. Pauses,
looking at a photograph on the wall. Riggs, much younger,
along with a pretty and vivacious woman in a wedding gown:
his wife. Stares at the photograph. His fingers twirl
the whiskey glass with completely unconscious skill.
Tense. Tense ... twirling the glass ... RICHARD DAWSON
DRONES from the TV (our survey says -- !). Riggs slings
the shotglass. Dead center, SHATTERING the TV SCREEN.
CUT TO:
14 INT. POLICE FIRING PANGE - MORNING 14
Targets: Human silhouettes with kill zones numbered.
Murtaugh enters. Sheds his coat, unholsters the .38.
Steps to the red line. Shifts. Stretches. Cracks his
neck. This is a ritual for him. He stops to examine his
right hand, holding it steady before his eyes. Except
there is a slight tremble. Tiny, but it's there. He
frowns. Braces himself: Cross-draws with lightning
swiftness. -- BAM! -- The sound is DEAFENING in the
closed room. A neat round hole appears in the target.
Perfect shot: a neat third eye. Murtaugh smiles.
Holsters his gun. Puts on his coat -- and sings softly
to himself:
MURTAUGH
Happy birthday to me ...
CUT TO:
15 INT. CAR - DAY 15
Sergeant Martin Riggs is driving. He looks like he
hasn't slept. He certainly hasn't shaved. The DISPATCH
RADIO SQUAWKS. He turns down the MUSIC from the car
radio and hears:
DISPATCHER (V.0.)
All units in the vicinity and
Fourteen X-ray thirty-one,
shooting in progress at Venice
Beach, Washington and Navy.
Three victims down, PA en route
Fourteen X-ray thirty-one, handle
code three.
Riggs hits the gas pedal and PEELS OUT.
CUT TO:
16 EXT. CENTURY CITY PARKING LOT - MORNING 16
The sky threatens rain. Cars buzz by as the city
awakens.
A section of the parking lot is cordoned off by yellow
streamers which read: POLICE LINE - DO NOT CROSS, and
as we watch, a black and white patrol car pulls up,
admitting two beat COPS and a young hooker. Her name
is DIXIE, and she is not happy.
DIXIE
Can I stay in the car?
COP #1
No.
DIXIE
Aw, cut me a break. I told you
already: she came out on the
balcony --
COP #1
(points)
That balcony ... ?
DIXIE
-- No, the Chandler fucking
Pavillion, of course that fucking
balcony, and then slie jumped, and
then I puked in a trash can. Can
I go now?
COP #1
Not 'til you talk to the Sarge.
DIXIE
Terrific. Where the hell is he?
17 INT. MURTAUGH'S CAR 17
The sarge drives up and gets out. A BEAT COP Toes by.
BEAT COP
Happy 50th, Rog.
MURTAUGH
Fuck you.
He crosses to the two Cops and Dixie.
COP #2
Hey, Sarge.
MURTAUGH
'Morning, Phil. Get some rain,
looks like.
(beat)
Hey, Dixie. Nice threads.
DIXIE
Hey, Murtaugh. Tell these bozos
to lay Off.
MURTAUGH
You. Bozos. Lay off.
COP #1
Had a jumper last night, Sarge.
Dixie here was walking by, saw
the whole thing.
MURTAUGH
You got a statement? Send her
home.
DIXIE
Thanks, Rog. I'm beat, you know
how it is.
MURTAUGH
Sure.
(points to her
outfit)
All dressed up and no one to blow.
DIXIE
You're hilarious.
She exits. Cop #2 escorts Murtaugh across the parking
lot.
COP #2
Nice wholesome girl. She got a
new job, you know.
MURTAUGH
What's that?
COP #2
County ceiling inspector.
(beat)
So. Fifty years old, huh?
MURTAUGH
Eat me.
They stop next to the Porsche. Murtaugh grimaces.
COP #2
Name is Amanda Lloyd, age twenty-
two, prostitute, one arrest, no
convictions. Born Tennessee,
parents --
MURTAUGH
What was the name?
COP #2.
Lloyd. Amanda Lloyd. You know
her ... ?
Murtaugh looks stunned. He speaks very slowly:
MURTAUGH
I knew her dad.
COP #2
Jesus.
(an awkward pause)
Vehicle is registered to her. She
landed right on top of her own car.
MURTAUGH
Find out who bought it for her.
Her sugar daddy.
COP #2
Take some looking into.
MURTAUGH
So look.
CUT TO:
18 OMITTED
19 INT. AMANDA LLOYD'S APARTMENT - DAY 19
Murtaugh stares at the photograph we saw earlier. The
two soldiers. One, we can assume, is Dick Lloyd. The
other is Murtaugh. Younger, trimmer. He speaks into
the phone.
MURTAUGH
Hello, honey ... ? Give me the
number for Dick Lloyd. What ... ?
Yes, the man who called me this
morning. His daughter just took
a dive out a window.
19A EXT. CHRISTMAS TREE LOT - DAY 19A
Martin Riggs and three lot employees are gathered around
the liftgate of a truck bearing a load of Christmas trees.
The truck shields them from the view of customers picking
out trees in the lot.
The lot employees are actually DRUG DEALERS. They look
around nervously in all directions as Riggs tastes a
sample of their wares.
RIGGS
Good stuff.
DRUG DEALER ONE
You better fuckin' believe it.
RIGGS
Okay. Let's do it. How much?
DRUG DEALER TWO
How much for how much?
RIGGS
For all of it.
DRUG DEALER THREE
You want it all?
RIGGS
Yeah.
(glances at
the trees)
And maybe a nice big six-footer
to put it under.
DRUG DEALER ONE
The tree you can have for nuthin'.
But the shit is gonna run you a
hundred.
Riggs lets out a soft whistle at the amount.
RIGGS
That much, huh?
(digs into
his pocket)
Okay. Let's see what I got.
He pulls out a roll of money and begins to count it out
in twenties and small bills.
RIGGS
Twenty, forty, sixty --
The Drug Dealers exchange dumbfounded expressions.
DRUG DEALER ONE
Hey, man. Hey!
RIGGS
Wait, wait ... shutup. I'm
losin count. Where was I? Oh,
yeah...
(continues to
peel off the
bills)
... Eight, ninety, ninety-five,
ninety-six, ninety-seven...
(digs into his
pocket for
loose change)
... Ninety-seven-fifty. Sixty.
Seventy-five. Okay, there's
ninety-eight dollars and twenty
cents...
He is about to check his other pocket for change when
Drug Dealer One stops him.
DRUG DEALER ONE
Forget it, dumbshit.
RIGGS
C'mon. I'm almost there. Gimme
a minute to --
DRUG DEALER ONE
One hundred thousand, you stupid
fuck! One hundred thousand!
Riggs is floored. He can't believe his ears.
RIGGS
Oh, Jesus ... I can't afford that.
Not on my salary.
(beat)
Look... let's do this instead ...
(pulls out his
wallet)
I take your complete stash, okay?
I take it all. For free. And
you assholes go to jail.
As he says this, he flips open his wallet and shows his
badge. The Drug Dealers at first look startled, then
disbelieving.
RIGGS
I could read you your rights,
but ... nah. You guys know what
your rights are.
DRUG DEALER ONE
Fuck you, man. That badge ain't
real. And you ain't real.
DRUG DEALER TWO
But you're sure as hell one
crazy fuck!
Riggs' eyes begin to blaze. His nostrils flare. Like
a maniac, he lunges at Drug Dealer Two.
RIGGS
You callin' me crazy!? You
think I'm crazy! You, wanna see
crazy? I'll show you crazy!
This is crazy!
Riggs then proceeds to slap and pummel the Drug Dealer
in the manner of the "Three Stooges"... complete with
"WOO-WOO" sound effects.
But he ends the routine by pulling a nine-millimeter
Baretta from behind his back and pressing it against
the neck of Drug Dealer Two.
RIGGS
That's a real badge. I'm a real
cop. And this is a real gun.
(to the other two
Drug Dealers)
Face down on the ground. Arms
and legs out. Do it now!
Dealer One and Three begin to follow orders but Riggs
sees a flicker in their eves that him to trouble.
He spins around -- a FOURTH DRUG DEALER is behind him
with a shotgun. The SHOTGUN EXPLODES. Riggs ducks,
allowing Drug Dealer Two to take the full force of the
'blast in the face.
Riggs rolls in the sawdust FIRING his BERETTA.
Dealer Four takes a bullet between the eyes.
Dealer Two now has an AUTOMATIC RIFLE in his hand.
It CHATTERS in Riggs' direction. Sawdust and pine
needles fly in the air -- but Riggs is able to blow
him away.
One more Drug Dealer left. Riggs can't find him.
His eyes dart in all directions. Where is he?!
Behind Riggs, that's where! He presses a revolver to
the back of Riggs' head, taking Riggs' Baretta from
him and tucking it into his belt.
That's when:
19B FIVE NARCOTICS OFFICERS 19B
come running from their stakeout positions around the
lot. But they stop short when they see that Riggs is
being held with a gun pointed to his head.
The Drug Dealer begins to move with Riggs toward a van
parked nearby.
RIGGS
(to officers)
Shoot him! Shoot him!
DRUG DEALER
(to Riggs)
Shut up!
RIGGS
(to Drug Dealer)
Fuck you!
(to officers)
Shoot him! Shoot him!
The narcotics officers don't know what to do. They
are frustrated. Helpless. Immobilized.
Riggs sees the van looming up. The van means defeat.
The van means disgrace. The van means victory for the
bad guys, and we know that Riggs would rather die than
be the instrument of the Dealer's escape.
19C CLOSE ON RIGGS AND DRUG DEALER 19C
The veins are popping out in Riggs' neck. The Drug
Dealer is getting nervous and panicky. His gun hand
is trembling. The barrel of the gun jiggles against
the back of Riggs' head.
RIGGS
(to Drug Dealer)
Do it, asshole. Pull the trigger.
Pull the trigger.
DRUG DEALER
Shut the fuck up!
They move closer to the van. The narcotics officers
have their guns poised for action, but don't dare use
them.
DRUG DEALER
(to officers)
Guns down! Guns down!
RIGGS
(to officers)
Shoot him! Kill him!
(to Dealer)
Pull the trigger!
(to officers).
Waste him!
(to Dealer)
Shoot me!
(to officers)
Kill him!!
The Dealer is so freaked now that his grip on Riggs
slips momentarily -- and Riggs sees his opening.
He spins. Kicks the Dealer in the groin. Dislocates
his arm -- sending tlie gun flying. Riggs retrieves his
Baretta from the Dealer's belt and shoves the barrel
into the Dealer's face.
Riggs' entire body quakes with rage. His finger begins
to squeeze back on the trigger. He wants to kill the
guy so bad he can taste it... and yet, he doesn't do it.
The other officers arrive and step between Riggs and
the Dealer.
Riggs turns away. Breatliing hard. Adrenalin pumping.
He tucks the Baretta into his belt, then notices that
his hand is covered with the spilled blood of one of
the Drug Dealers.
It gives Riggs pause. For a moment, he just looks at
it.
HOLD ON Riggs. VERY CLOSE. And the look in his eyes.
20 OMITTED 20
thru thru
25 25
26 INT. METRO SQUAD ROOM - MORNING 26
Police have seldom looked this busy. Yes, there are
RINGING PHONES. Yes, there are CLATTERING TYPEWRITERS.
Yes, it looks like a circus. And here comes Captain of
Detectives ED MURPHY, moving like an after-breakfast
juggernaut. Behind him, a young woman rushes to keep up.
The POLICE PSYCHOLOGIST, no less.
PSYCHOLOGIST
I want Martin Riggs pulled from
duty.
MURPHY
Um... no.
PSYCHOLOGIST
No. No??? Captain, he walked
into the line of fire.
MURPHY
Very brave individual, don't
you think... ?
PSYCHOLOGIST
This is utter bullshit.
MURPHY
Oh, is it? Forgive me.
PSYCHOLOGIST
Martin Riggs is a cop with a
death wish.
Murphy shoots her an incredulous look.
PSYCHOLOGIST
You can quote me. It happens to
be my professional opinion.
MURPHY
Um... good opinion. See you
tomorrow.
PSYCHOLOGIST
Captain...
MURPHY
Look, Doc, you're way off. Way
off. Know what I think? I think
Riggs is pulling for a psycho
pension.
PSYCHOLOGIST
Oh, do you?
MURPHY
Yeah. I am sure you're aware the
department offers a disability
stress pension --
PSYCHOLOGIST
Yes, I'm aware --
MURPHY
-- Except we don't offer it to
everybody, only cops who seem to
suffer from
PSYCHOLOGIST
-- From abnormal stress, yes, I
know. Or suicidal tendencies.
MURPHY
Give the lady a cigar.
PSYCHOLOGIST
You think Riggs is playing a game?
MURPHY
Sure. He wants the cash. Seen
it a hundred times. He'll come
around.
PSYCHOLOGIST
Sir, with all due respect ... I
think that's a dangerous attitude
to take. May I remind you that
his wife of eleven years was
recently killed in a car accident,
and
MURPHY
I know all about Riggs, Doc. He's
a tough bastard.
PSYCHOLOGIST
(intense)
He is on the edge. He may be
psychotic.
MURPHY
Bunch of psych bullshit- Look,
can I pee now?
PSYCHOLOGIST
I think you're making a mistake
by leaving him in the field.
He's suicidal.
MURPHY
End of discussion. We're gonna
wait. And then, if he offs
himself ... Well, then we'll know
I was wrong.
PSYCHOLOGIST
Yes, sir. Then we'll know.
CUT TO:
27 EXT. SIMI VALLEY - NIGHT 27
Rain sweeps in off the desert. Cold. Drenching. Riggs
walks slowly toward his trailer home, head down. The
RAIN BEATS on him. He doesn't notice. Under his arm he
carries a large cardboard box.
28 INT. RIGGS' TRAILER - SAME TIME 28
Riggs enters, soaking wet. Switches on the lamp.
Depressing. Jake appears, tail a-thump. Tongue wagging
doggishly. Riggs reaches atop the refrigerator, grabs
a bag of peanuts.
Opens it, tosses it to the dog.
RIGGS
Sam, every day ... in every way ...
I'm getting better and better.
Opens the box and removes its contents. Brand new color
TELEVISION. Plugs it in. Switches it ON. Sits down
with a bottle of whiskey. Drinks. On the screen, the
Grinch steals Christmas from the residents of Whoville.
29 ANOTHER ANGLE 29
Riggs opens a drawer beside him, and takes out a bottle
of sleeping pills. Picks it up. As he does -- the sound
of the TELEVISION FADES OUT -- silence, dead silence...
As Riggs rolls the bottle in his fingers. Slowly,
thoughtfully, unscrews the cap ... dumps them on the table.
Runs his fingers through them. CLICK... CLICK... Stares.
Mesmerized. RAIN BEATS on the window.
30 EXT. TRAILER 30
The RAIN CONTINUES to hammer the lonely little pit which
Riggs calls home.
CUT TO:
31 L.A.P.D. - MORNING 31
A zoo. A sign reads METRO ROBBERY/HOMICIDE.
Roger Murtaugh sits at his desk, lost in thought.
Behind him, McCASKEY, Class Three Detective. He talks
to Murtaugh:
McCASKEY
See, you're behind the times,
Sarge. Guys in the Eighties
aren't tough. They're sensitive
people. They show emotions around
women and shit like that.
(beat)
I think I'm an Eighties man.
MURTAUGH
How you figure?
McCASKEY
Last night: I cried in bed, so
how's that?
MURTAUGH
Were you with a woman?
McCASKEY
No, I was alone, why the fuck you
think I was crying?
MURTAUGH
Sounds like an Eighties man to me.
Another detective enters. Rail-thin, nose like a beak.
His name is BURKE.
Behind him in the door frame we see a fat cop pass by
down the hall, walking backwards; a beat, and then he is
followed by four more cops singing the world's shittiest
rendition of "It Came Upon a Midnight Clear." It sounds
like pigs mating.
Burke approaches Murtaugh:
BURKE
Got some news on the Lloyd case,
Rog.
MURTAUGH
That was quick.
BURKE
So was the autopsy.
(takes a deep
breath)
You ready for this? They're not
calling it suicide.
MURTAUGH
What?
BURKE
Surprise, surprise. First off,
coroner found evidence she took
barbiturates.
MURTAUGH
Brilliant. There was an open
bottle on her table.
BURKE
Right, right. That's not the
surprise. Surprise is someone
doctored the pills.
(beat)
Every capsule was loaded with
drain cleaner.
MURTAUGH
Jesus ...
BURKE
If she hadn't jumped, she woulda
been dead inside fifteen minutes.
MURTAUGH
(sighs)
This case blows.
32 ANOTHER ANGLE 32
ACROSS the room, a detective takes off his gun and
slings the holster across his chair. As he EXITS FRAME
-- PAN to reveal: Martin Riggs as he enters the squad
room. Shuffles from foot to foot, looking lost. Lights
a smoke.
33 ACROSS ROOM 33
Murtaugh slings on a jacket. Turns to go. Notices
Riggs.
34 MURTAUGH'S POV 34
Riggs resembles a bag person. Unshaven, limp dirty
hair, grimy leather jacket.
35 BACK TO SCENE 35
He frowns, says:
MURTAUGH
McCaskey, if my wife calls, tell
her late dinner.
BURKE
Ho, Rog- I'm not through yet.
I'm supposed to tell you two more
things.
MURTAUGH
Shoot.
He is still looking at Riggs, who is slowly wandering
from desk to desk, smoking -- Stopping near the desk with
the holstered gun.
BURKE
First, condition of the sheets and
mattress indicate someone was in
bed with Amanda Lloyd just before
she died. That's A.
MURTAUGH
What's B?
BURKE
B is, I'm supposed to tell you
you're breaking in a new partner
on this.
Now Murtaugh is eyeballing Riggs. Cautious.
MURTAUGH
(distracted)
I don't work partners.
BURKE
You do now. C.I.T. transfer, some
burnout they want you to keep on
a leash.
MURTAUGH
Oh, perfect. Can I trade in my
life for a new one?
At which point, across the room, Riggs removes the hol-
stered gun and hefts it, curiously. Suddenly all hell
breaks loose:
MURTAUGH
Gun !!
He bolts like a cheetah.
Cops dive for cover, a secretary shrieks, and Murtaugh
goes plowing through the squad room like an express
train, blowing people out of the way -- Cops grabbing
for their holsters -- Riggs, meanwhile, looking around
frantically, he's trying to find the guy with the gun
who is, of course, himself.
Murtaugh takes a flying leap sails across
the desk, going for the glory And Riggs, in the
blink of an eye, simply ducks and flips Murtaugh
neatly over one shoulder. There is a hideous crash
of BREAKING GLASS and OVERTURNING FURNITURE. Ouch...
McCaskey, meanwhile, screams to Burke:
McCASKEY
What the shit is going on?
Burke sighs, shakes his head:
BURKE
Roger just met his new partner.
36 INT. OFFICE 36
Darkness. A soft CLICK as a gun is cocked. The barrel
gleams faintly in the dim light. A voice:
MAN (O.S.)
There are three guns on you.
VISITOR
Easy. Take it easy.
(beat)
I'm going to light a match.
He does. Holds it near his face.
MAN (O.S.)
Thank you, Mr. Mendez.
The lights come on. Dazzling. Mendez covers his eyes.
Three men. Seated in chairs. Shirt sleeves and shoulder
holsters. The LEADER speaks.
LEADER
If you'll follow me, please.
MENDEZ
Who the hell are you?
LEADER
That's hardly important. If you
like, you may call me Mr. Joshua.
MENDEZ
Swell.
They move toward a door in the rear wall.
JOSHUA (LEADER)
I trust you're having a pleasant
holiday season?
MENDEZ
(looks at him)
Yeah. It's a fucking joy, thank
you.
37 INT. BACK OFFICE - SAME TIME 37
The door opens into a dimly-lit office. Stained carpet.
Rotten wood. A desk.
Behind the desk sits a large, rugged man with eyes like
chips of stone. This is the GENERAL.
GENERAL
Yes, Joshua... ? Ah, Mr. Mendez.
Please, have a seat.
Joshua stands off to one side. Mendez sits.
MENDEZ
(under his breath)
Where'd you get him? Psychos 'R.'
Us?
GENERAL
Hardly.
Points to another merc.
MENDEZ
I like the sunglasses. Very
Hollywood.
GENERAL
Mr. Larch is unfortunately missing
an eye. For anonymity's sake, he
chooses to forego wearing a patch.
MENDEZ
Swell. Blind people with guns.
This is a class act. Maybe we
can run over to the V.A. and
pick up a couple amputees.
Bargain rates after six.
GENERAL
I don't find you funny.
MENDEZ
I don't find this goddamn setup
funny.
(beat)
You're using mercenaries, for
Chrissake. Tell me I'm wrong.
GENERAL
No. You're not wrong.
MENDEZ
And I'm supposed to trust these
bozos?
GENERAL
My people are loyal, Mr. Mendez.
They are loyal to me.
MENDEZ
Bullshit.
GENERAL
Joshua. Hold out your hand.
Joshua steps up to the General and extends his arm.
GENERAL
Do you smoke, Mr. Mendez?
MENDEZ
Yeah.
GENERAL
Give me your lighter.
Mendez frowns, cautiously hands a silver cigarette
lighter to the General.
Who promptly pulls an old G. Gordon Liddy maneuver:
He holds the flame right under Joshua's hand. Searing
it. Mendez looks on, a trifle pale.
As for Joshua, he makes no sound at all. Simply stands,
trance-like.
GENERAL
You wish to do business with us,
yes?
MENDEZ
Jesus ...
GENERAL
Mr. Joshua is in a great deal of
pain. You wish to make a purchase,
yes?
MENDEZ
I ... yes. Sure. Jesus.
The General nods, hands the lighter back to Mendez.
GENERAL
Filthy habit, smoking.
(beat)
The bulk of the heroin will
arrive Friday night. We will
make delivery at that time.
Please have the money ready,
and no tricks. If you try to
cross us, I'll have Joshua cut
out your eyes.
(beat)
Merry Christmas.
38 OMITTED 38
39 39
40 EXT. UNMARKED POLICE CAR - DAY 40
Riggs and Murtaugh cruise through downtown Los Angeles.
Riggs drives, while Murtaugh scowls. There is an awk-
ward pause.
MURTAIJGH
Turn right.
(beat)
So. They tell me you're a good
cop.
RIGGS
I try.
MURTAUGH
Heard about your little stunt
yesterday. Pretty heroic stuff.
(as Riggs does
not reply)
File says you worked for the
Phoenix Project in Vietnam, that
right?
RIGGS
Yes.
MURTAUGH
Assassin stuff?
RIGGS
Maybe.
MURTAUGH
And they gave you the
Congressional Medal of Honor.
RIGGS
It was a lean year.
MURTAUGH
It's over, you know.
RIGGS
What is?
MURTAUGH
The war.
RIGGS
Yes. I know.
MURTAUGH
Just thought I'd remind you.
(beat)
Check out your piece?
---------------------------------------------
works the slide, KA-CHIK
Murtaugh.
3 1.
_______________________________________________
He reaches across the get Riggs' gun. At which point
Riggs' hand shoots out -- and stops him cold.
RIGGS
Bad manners, man.
Riggs removes the gun himself. Steers with his knees.
Drops the chambered bullet. Slips out the magazine,
Hands the gun to ------------
RIGGS
Don't hurt yourself.
Murtaugh hefts the weapon, turning it over in his hand:
Beretta .9 millimeter. Smooth, well-oiled.
Accurized. Murtaugh frowns.
MURTAUGH
.9 millimeter Beretta. That's
some serious shit.
RIGGS
Military switched from Colt to
Beretta in 1985. It's a better
piece. Wide ejection port, no
feed jams, no stovepipes.
MURTAUGH
What's it take?
RIGGS
Fifteen in the mag, one up the
pipe. You carry a wheelgun?
MURTAUGH
.38 Special.
RIGGS
Lot of old-timers carry that.
Murtaugh shoots him a look. Replaces the gun.
MURTAUGH
File says you're registered with
Newark P.D. as a lethal weapon.
RIGGS
File don't lie. Look, friend,
let's cut the shit. We both
know why I was transferred.
Everyone thinks I'm suicidal, in
which case I'm fucked and no one
wants to work with me. Or they
think I'm faking to draw a psycho
pension, in which case I'm fucked
and no one wants to work with me.
Basically, I'm fucked.
MURTAUGH
Guess what?
RIGGS
What?
MURTAUGH
I don't want to work with you.
RIGGS
Then don't.
MURTAUGH
Ain't got no choice. Damn.
We're both fucked.
RIGGS
Terrific.
As they speak, Riggs has pulled to a stop in front of a
large downtown bank building.
MURTAUGH
(rubs his eyes)
I'm very old ...
(sighs)
... God hates me, that's what
it is.
RIGGS
Hate him back. Works for me.
He lights a cigarette.
CUT TO:
41 INT. BANK BUILDING - DAY 41
Dick Lloyd's office: everything about it looks starched
and perfect. In the b.g., bank employees shuttle between
desks, building and toppling empires. DICK LLOYD paces
back and forth. He is the man we saw earlier in Amanda's
pliotograph, standing next to Murtaugh. Now he looks like
shit. He addresses Riggs and Murtaugh, who are seated in
the office.
LLOYD
Murder ... But I thought ...
MURTAUGH
Poisoned. Even if she hadn't
jumped ... she'd still be dead.
LLOYD
Jesus.
(beat)
Jesus, I can't take -------.
He sits, staring out the window. A broken man.
MURTAUGH
Dick, why did you call me
yesterday?
LLOYD
(very far away)
Called you...? Yeah. That's
right ... I heard you were working
out here ... I wanted you to find
her for me, Roger. Take her
MURTAUGH
Out of what?
LLOYD
She did movies, Roger ... Naked
movies ... Saw one of them...... saw
my little baby ... smiling...... She
did it ... with a woman. She was
on top of a woman, Roger-...!
MURTAUGH
Easy, Dick.
Lloyd turns, facing them. Intense:
LLOYD
I want a promise.
(beat)
You owe me. You know you do.
MURTAUGH
Yes. I know that.
LLOYD
When you find who did it, I want
you to kill them. If it's more
than one, I want you to kill all of
them. Make them squirm first, take
your time ... and fucking kill them.
MURTAUGH
I'm a police officer, Dick.
LLOYD
Forget the law. It's easy to do.
You owe me.
MURTAUGH
(pause; then)
We have to go now.
Lloyd does not look up. Riggs and Murtaugh head for the
door.
LLOYD
I know you can, Roger. You kill
them. You do that.
The cops exit. The door shuts.
42 EXT. OFFICE BUILDING - DAY 42
Riggs and Murtaugh head ior the car. Riggs takes out a
pack of cigarettes.
MURTAUGH
You gonna smoke in the car?
RIGGS
Thinking about it.
MURTAUGH
Terrific.
He puts the top down.
Riggs takes out a cigarette, starts to put it in his
mouth. Stops.
RIGGS
Whoops. Shit.
He replaces it in the pack, takes another. Murtaugh
looks at him.
MURTAUGH
What was wrong with that one?
Riggs points to the tip of the replaced cigarette. We
notice two things: a) It looks like it's about fifty
years old; and b) there is a tiny red mark, circling the
filter.
RIGGS
This one is the last cigarette
I'll ever smoke.
Trick I learned from my dad. I
smoke all I want, but when I smoke
this one ... I'm through.
MURTAUGH
Brilliant. Get in the car.
RIGGS
Want me to drive?
MURTAUGH
You're suicidal, remember?
RIGGS
Anyone who drives in Los Angeles
is suicidal.
They get in. Murtaugh heaves a sigh, stares bleakly out
the window. A moment, then Riggs says:
RIGGS
He said you owed him. What did
he mean?
MURTAUGH
We served together in '65. He
saved my life in the La Drang
Valley. Took a bayonet in the
lung.
RIGGS
That was nice of him.
MURTAUGH
I thought so.
The RADIO SQUAWKS. Murtaugh TURNS it UP.
DISPATCHER (V.O.)
All units and seven eight
twenty-one, possible jumper at
the corner of Santa Monica and
La Cienega, seven eight twenty-
one handle code two.
Murtaugh keys the hand mike.
MURTAUGH
Four King Sixty en route.
RIGGS
This is great. I love this job.
MURTAUGH
Stow it.
43 EXT. CITY INTERSECTION - DAY 43
A building, ten stories high. On the ledge, a lone man
poised high above the street. Beneath him, a crowd has
gathered. A police car. A searchlight. A crowd of
office workers, rubber-necking to beat the band. One or
two kids yell, "Jump, jump."
Murtaugh's car glides to the curb. The doors burst open
and the two partners emerge. A PATROL COP approaches.
PATROL COP
Hey, Sarge, you wanna handle
this?
MURTAUGH
Where's the psychologist?
PATROL COP
Sitting in traffic.
MURTAUGH
Swell.
(beat)
Who's the guy?
PATROL COP
Salesman name of MacCleary. Left
the office party. Went upstairs
and walked out on the ledge.
MURTAUGH
Think he'll go?
PATROL COP
Seems serious enough. Who knows?
Riggs clears his throat. Murtaugh turns.
RIGGS
I can handle this.
MURTAUGH
You qualified to talk to jumpers?
RIGGS
I've done it before.
MURTAUGH
(reluctant; then)
Okay. You're elected.
(as Riggs
turns to go)
Hey.
(as Riggs stops)
No guns. No kung fu. Just ...
bring him in.
RIGGS
Sure. Bring him in.
MURTAUGH
Right.
Riggs moves off toward the building. Murtaugh looks
after him. Was this a mistake ... ?
44 EXT. ROOFTOP - DAY 44
Riggs appears on the roof. There, about five yards away,
stands the JUMPER. Agitated. Breathing hard.
Below is ten stories of open space. The wind blows.
Riggs nods to the Jumper.
MacCLEARY (JUMPER)
Go away.
RIGGS
My name is Riggs.
MacCLEARY
Fuck off.
RIGGS
I can't do that.
(beat)
What's your name?
MacCLEARY
Look, I know all the psychology
bullshit, it won't work.
RIGGS
I'm not a psychologist.
MacCLEARY
Yeah? What are you?
RIGGS
Homicide cop.
MacCLEARY
You're early. Hang on a couple
minutes, you can go to work.
RIGGS
At least tell me your name. Look,
I gotta fill out the little piece
of paper. Okay?
MacCLEARY
(swallows)
Len. Len MacCleary.
RIGGS
Thanks. 'Preciate it.
(beat)
That M -- C ... ?
MacCLEARY
M -- A -- C, now get outta here.
Riggs leans out farther, perches on the ledge. Absolutely
calm.
RIGGS
Why are you doing this?
MacCLEARY
None of your goddamn business.
RIGGS
Fair enough.
(pause; then)
I'm coming out. Take it easy.
Riggs stands, steps out onto the narrow ledge. He seems
unconcerned.
MacCLEARY
Don't come near me!
RIGGS
Ssshhh. Easy. I'm just going to
talk.
MacCLEARY
Touch me and I'll jump.
RIGGS
I understand.
45 EXT. BUILDING - DAY 45
On the ground below, Roger Murtaugh reacts with disbelief.
His partner is taking an insane risk. Up above, Riggs
pauses. Around him the WIND BLOWS treacherously.
RIGGS
You're not the first guy to think
of this, you know. Everyone's got
problems.
MacCLEARY
You know shit.
RIGGS
Wrong. You're wrong.
(beat)
I almost tried this once.
Seriously. My wife. Got killed
in a car crash. Only person I
ever cared about. I never had
kids.
MacCLEARY
You're breaking my heart.
Riggs takes out his wallet, flashes it at MacCleary.
RIGGS
This is her picture.
MacCLEARY
Nice. Fuck off.
RIGGS
I'm trying to tell you I understand,
you dope.
He takes a step closer.
MacCLEARY
Don't touch me. I'm not doing
anything wrong.
RIGGS
I know that. Not like you're
murdering anyone.
MacCLEARY
Right. Only one hurt is me.
RIGGS
Same way I look at it. I'm gonna
stand beside you, okay?
MacCLEARY
No!
(beat)
Dammit, keep away.
RIGGS
Please. This is scary stuff.
Just ... let me stand next to you.
MacCLEARY
Don't try nothing.
RIGGS
I try something, we both go.
MacCLEARY
Right.
Riggs slowly steps up to the man. Shudders.
RIGGS
There. Fuckin' cold,up here.
(beat)
Helluva day for both of us, huh?
(looks around at
the sea of traffic
far below)
Here we are.
(beat)
God, this is really scary. I'm
scared.
MacCLEARY
Me, too.
RIGGS
You wanna smoke?
(pulls out
cigarettes)
Let's smoke, okay?
MacCLEARY
Sure.
Riggs offers a smoke. MacCleary reaches for it. And Riggs
snaps a handcuff on his wrist. Snaps the other end onto
his own wrist.
MacCLEARY
Hey ...
RIGGS
Sorry.
(beat)
See this key?
He holds up the key to the cuffs. Flings it out into
space.
RIGGS
We're together on this. You can
go if you want. But you take me
with you. Makes you a murderer.
MacCLEARY
You bastard.
RIGGS
You'll be killing a cop.
Silence.
RIGGS
I'm going inside. What say you
come with me?
He turns, starts to ease along the ledge. MacCleary
swallows hard, says:
MacCLEARY
Fuck you, I'm jumping.
And suddenly Riggs turns on him. Eyes like steel.
RIGGS
You wanna jump ... ? You really
want to ... ?
(long pause;
then)
Fine. Let's do it.
He steps to the edge.
MacCLEARY
Hey, what the fuck ...
RIGGS
You asked for it.
MacCLEARY
Hey, wait a minute ... !
Riggs does something very drastic. He jerks them both
off the ledge. Holy shit. The crowd gasps.
RIGGS
Geronimoooooo ...
As down they plunge, all ten stories -- Tumbling and
falling -- MacCleary shrieking like a lunatic ... And
suddenly, BAM -- ! They land in a fireman's net. Bounce
a few times. Come to rest, safe and unharmed ... Riggs
rolls over with a sour look on his face. Cops surround
them. MacCleary is a trifle upset.
MacCLEARY
Get him away from me!! Cut me
loose!! Crazy fucker tried to
kill me!! Did you see that?? He
tried to kill me!!!
And so on, screaming and ranting -- As a uniformed cop
cuts Riggs free with a set of clippers. Riggs stands
shakily. Steps away from the net. And there is Roger
Murtaugh. Visibly upset.
Did I say upset? I meant enraged. He grabs Riggs, slams
him against the wall. Tries to grab his collar. Riggs'
hand shoots out. Lightning fast. Stops Murtaugh's hand.
Stops it cold. They stare into each other's eyes.
RIGGS
Don't ... touch me.
Murtaugh will not back down.
MURTAUGH
What the fuck did you just do???
RIGGS
I controlled the jump. You wanted
him down. He's down.
MURTAUGH
C'mere.
He yanks Riggs around the corner, away from the other
cops.
MURTAUGH
Okay, turkey, no bullshit. Do you
want to kill yourself?
RIGGS
Aw, for Chrissake ...
MURTAUGH
Shut up. Just yes or no, do you
want to die? Huh? Yes or no?
RIGGS
I got the job done.
MURTAUGH
You're not answering the
question!!!
RIGGS
(angry)
What do you wanna hear, man? You
wanna hear that I got a bottle of
pills in my room? I do. Every
day I wake up, I look for a reason
not to take them. Doing the job,
that's ... that's the reason.
Murtaugh looks at him. Nods. A moment, then:
MURTAUGH
You want to die.
RIGGS
I'm not afraid of it.
MURTAUGH
Here.
(unholsters
his gun)
Pills are too slow. Use a gun.
Use my gun. Go ahead, pal.
A pause. Riggs looks at the gun.
MURTAUGH
Be my guest.
He offers the gun to Riggs.
MURTAUGH
Go ahead. If you're serious.
Riggs smiles, takes the gun without missing a beat. Puts
it to his head. CLICK -- ! The hammer is cocked.
Murtaugh and Riggs stare each other down. Tense. Reading
each other.
RIGGS
You shouldn't tempt me, Roger.
MURTAUGH
Put it in your mouth. Bullet goes
in your ear, might not kill you.
Meanwhile, in the b.g., pedestrians are diving for cover.
Murtaugh and Riggs are oblivious. Riggs puts the gun
under his chin.
RIGGS
Under the chin's just as good.
They stare at each other. Riggs' finger begins to
tighten on the trigger. Turns white with pressure.
It looks like he's going to do it.
At the last second, Murtaugh jams his thumb in front of
the hainmer, and CLICK
Jesus ...
The hainmer thuds against his thumb.
Murtaugh grabs the gun. Stares at Riggs, wild-eyed.
MURTAUGH
Jesus. You're not trying to draw
a psycho pension.
(beat)
You're really crazy ...
RIGGS
(smiles coldly)
So now you know.
MURTAUGH
Yeah. Now I know.
46 INT. POLICE LINEUP - DAY 46
The Police Psychologist we met earlier is talking on the
telephone:
PSYCHOLOGIST
You're asking me if he's stable
and I'm telling you no. We're
talking about a man who carves
notches in his gun barrel. Ore
for each kill. He blew a man
to Pieces yesterday. Is this
helping?
INTERCUT:
47 ROGER MURTAUGH 47
Standing at a pay phone, listening. He nods:
MURTAUGH
Terrific. So you're saying I
should worry.
PSYCHOLOGIST
Are you kidding? The guy's a time
bomb. When he goes... stand back.
MURTAUGH
Thank you, Doctor. You've been
very helpful.
He hangs up. Rubs his eyes tiredly and says:
MURTAUGH
I'm too old for this shit.
CUT TO:
48 INT. MURTAUGH'S CAR - TRAVELING - DAY 48
Silence. Murtaugh fumes. Riggs keeps his mouth shut.
Murtaugh takes his anger out on the road: SLAMMING the
BRAKES; SQUEALING around corners, etc.
But he can't hold it 'in. He explodes:
MURTAUGH
(pounding his fist
against the wheel)
It's my birthday, damnit! Fifty
years old today! Fifty goddamn
years old! Thirty years on the
force! Not a scratch on me! Not
a scar! I got a wife! Kids!
House! Fishing boat! But I can
kiss all that goodbye, 'cause my
new partner's got a death wish!
My fuckin' life is over!
RIGGS
Roger --
MURTAUGH
Shut up! Why you talkin' to me?!
I'm not he're anymore! I'm gone!
I'm dead! You're gonna see to
that! You wanna die -- and you're
gonna take me with you!
Silence again. Murtaugh gnashes his teeth. Riggs looks
at him with a very serious expression.
RIGGS
I didn't know that.
MURTAUGH
Know what?!
RIGGS
That today was your birthday.
(beat)
Happy Birthday, Roger. I mean
that sincerely.
Murtaugh looks taken aback by the genuine sound of affec-
tion in Riggs' voice.
RIGGS
I just hope we stay alive long
enough for me to buy you a present.
Riggs says this with a straight face -- but there is
a playful glint in his eye that Murtaugh doesn't miss.
And he laughs out loud in spite of himself. It breaks
the tension, and Riggs knows it.
RIGGS
Where we going?
MURTAUGH
Beverly Hills.
(beat)
Got an address on Amanda
Hunsecker's meal ticket. But
remember ... this guy isn't a
suspect yet. We're gonna
question him; not damage
him.
Riggs raises his hands -- as if to say, I'll be on my
best behavior. Murtaugh swings the car onto Sunset
Blvd.
49 EXT. POSH BEVERLY HILLS HOME - TWILIGHT 49
The kind of house that I'll buy if this movie is a huge
hit. Chrome. Glass. Carved wood. Plus an outdoor
solarium: A glass structure, like a greenhouse only
there's a big swimming pool inside. This is a really
great place to have sex.
50 INT. SOLARIUM 50
The swimming pool is covered by a vinyl tarpaulin.
Surrounded by a jungle of plants.
51 AT POOLSIDE TABLE 51
Sits a very rich person. He is wearing an $800 designer
ensemble. Beside him, an elegantly-appointed shotgun
leans against the table. He is on the phone.
RICH GUY
Listens asshole, you gotta tell
me these things ... Yeah, we got
a problem. My margin is completely
fucked up, and we got athletes
snorting the shit and pitching
over dead, how's that for a
problem... ? Yes, I'm holding
two keys now. Terrific, call
me back.
CUT TO:
52 EXT. WOODEN GATE - SAME TIME 52
Riggs and Murtaugh approach the gate. Riggs tosses out
a cigarette. Suddenly --
There is an ELECTRIC HUM and the gate glides softly open,
admitting a red Honda scooter, a dashing blonde behind
the wheel. She ROARS off down the street.
Riggs and Murtaugh exchange glances.
The GATE CLICKS, starts to glide shut.
The cops enter.
53 EXT. HOUSE WINDOW - SAME TIME 53
Riggs' face comes INTO FRAME, peering cautiously through
a plate glass window. He whistles softly.
RIGGS
Take a look.
Murtaugh steps to the window, looks in.
54 MURTAUGH'S POV - THROUGH THE WINDOW 54
Enough cocaine to service the third tier at Yankee
Stadium.
A BLONDE, BIKINI-CLAD WONDER sits on the couch, happily
snorting. She sees Murtaugh and waves hilariously.
Makes come-hither gestures.
Murtaugh scowls, turns to Riggs.
RIGGS
I'm thinking probable cause.
MURTAUGH
Jesus. Maybe I should call for
backup.
RIGGS
What am I, chopped liver?
Murtaugh looks at him. Sighs.
MURTAUGH
No killing.
RIGGS
No killing.
He grins cheesily-
56 EXT. SOLARIUM 56
Riggs and Murtaugh approach the frosted glass door. They
draw their guns.
MURTAUGH
Nice and easy.
RIGGS
Nice and easy.
Murtaugh takes a deep breath. Kicks open the door.
MURTAUGH
Police. Hold it right there.
57 INT. SOLARIUM 57
The rich guy does not hold it right there. In fact, he
has already snatched up the SHOTGUN. He triggers a
BLAST, BLOWS OUT GLASS next to Murtaugh. Murtaugh dives,
rolls, comes up in a combat crouch. BAM --- The rich
guy takes it in the shoulder. Spins around. The gun
clatters to the ground. Riggs and Murtaugh approach,
guns drawn. The rich guy writhes on the ground, clutch-
ing his shoulder. Murtaugh says to Riggs:
MURTAUGH
See how easy that was? Boom.
Still alive. Now we take the gun
away ...
(he does)
... And we question him. Know
why we can question him? Because
I got him in the shoulder. I
didn't blow him up or jump off a
building with him.
RIGGS
No fair, the building guy lived.
MURTAUGH
Whatever. The point is, no
killing.
RIGGS
No killing.
MURTAUGH
Right. Piece of cake. I'm very
happy. Read the man his rights,
I'll be over here being happy.
Unfortunately ... as Murtaugh speaks, he does not see the
man on the ground has a hideaway gun tucked into his
waistband. As Murtaugh talks, oblivious ... The guy takes
out the gun with his good arm -- and aims dead center-at
Murtaugh's back. Riggs, however, notices. And springs
into action. Before the rich guy can fire ... Riggs' foot
flashes out like a pile driver. CRACK! The guy flies
backward. Lands on top of the pool tarpaulin. Oops. It
promptly surrounds him in a sucking, vice-like grip.
Murtaugh dives forward and extends his hand. Too late.
The vinyl surrounds the screaming rich guy, sucks him
below the surface. Smothers him.
Drags him to the bottom. Murtaugh looks on, wild-eyed.
On the bottom of the pool is a vinyl tomb. Murtaugh
dives in. Swims to the bottom. Yanks, and strains, but
we all know it's no fucking use. The vinyl stops moving.
Murtaugh stares... and then he gives up. Surfaces at the
side of the pool, gasping and wheezing. Riggs kneels
down beside him.
RIGGS
Oops.
Murtaugh stares daggers at him.
MURTAUGH
Have you ... ever... met someone
you didn't kill... ?
RIGGS
Haven't killed you yet.
MURTAUGH
Terrific, you want a little gold
star?
(lie pulls out
a soaked pack
of cigarettes)
Shit.
58 EXT. POSH BEVERLY HILLS HOME - LATER 58
Behind Riggs and Murtaugh, crime scene cops scurry back
and forth. Flashing lights. Cameras. Murtaugh makes
his way to the car. Riggs beside him. As they reach
the car, Murtaugh stops:
MURTAUGH
Look, I' m sorry I said that shit
back there.
(beat)
You saved my life. Thank you.
RIGGS
I bet that hurt to say.
MURTAUGH
You have no idea.
59 INT. MURTAUGH HOME - LATER THAT NIGHT 59
The two detectives come through the front door, shedding
their jackets. Young Carrie appears, nursing a Popsicle.
CARRIE
Hi, Daddy. Is that a crook?
MURTAUGH
No, honey, this is Martin, my
partner.
(scoops her up;
hugs her)
Tell Martin what you think of
crooks.
CARRIE
Buttheads.
(giggles)
They're buttheads.
RIGGS
Kid's no dummy.
CARRIE
Daddy, Mommy says you hate her
cooking.
MURTAUGH
Tell Mommy hate is a mild word.
60 INT. KITCHEN 60
Trish is cooking as the two cops enter.
MURTAUGH
Hi, honey.
(he looks in
the oven)
We're having something brown... A
largish brown object ...
TRISH
It's roast.
MURTAUGH
Dammit, I wanted to guess. Honeny,
this is Martin, my new partner.
He'll be joining us tonight, okay?
TRISH
Sure. Roast okay with you, Martin?
RIGGS
Fine.
MURTAUGH
How about brown, roast-like
substance?
TRISH
Roger, you're being an asshole.
(kisses his ear)
Don't forget to compliment Rianne
on her shoes.
MURTAUGH
Got it. Drink, Martin?
RIGGS
Bourbon, if you have it.
Murtaugh exits. Riggs stands awkwardly as Trish removes
the roast from the oven.
RIGGS
My wife could burn water.
TRISH
You're married?
RIGGS
I was. She's dead now.
TRISH
Oh. I'm sorry.
RIGGS
No problem.
He reaches for a stray piece of roast. Trish slaps his
hand.
TRISH
Don't pick.-
Riggs smiles. A genuine smile, the first we've seen.
60A INT. LIVING ROOM - SAME 60A
Murtaugh is fixing drinks as RIANNE enters. We all
heave a sigh. She is strictly to perish for.
RIANNE
Hello, Father.
MURTAUGH
Hello, daughter. Nice shoes.
RIANNE
Oh, Daddy, aren't they great?
MURTAUGH
Absolutely. How much they cost?
RIANNE
A hundred and ten dollars. Do
you really like them?
MURTAUGH
A hundred and --
(frowns)
-- They're shoes.
RIANNE
Right.
MURTAUGH
You wear them on your feet.
RIANNE
Right.
MURTAUGH
And that's all they do ... ? There's
not, like a TV inside?
RIANNE
Nope.
MURTAUGH
(shakes his head)
I'm very old.
CUT TO:
61 INT. MURTAUGH'S DEN 61
Young Nick Murtaugh is sitting in front of the TELE-
VISION, watching a "Charley Brown Christmas" and color-
ing a picture with a big box of crayons. He stops.
Frowns. Looks up -- At Martin Riggs, who is peeking
his head around the corner, watching with rapt fascina-
tion. Riggs chuckles, points to the screen:
RIGGS
This is good. I like this.
Nick looks at him very strangely. Okay, so the guy
likes cartoons ...
62 INT. DINING ROOM - MEALTIME 62
Everyone is gathered, eating.
Incredibly homey and domestic-looking.
For Riggs, who eats ravenously, it is the first taste
of warmth in many a long year.
62A ACROSS THE TABLE 62A
We notice something kind of neat:
Rianne simply cannot take her eyes off Riggs.
She stares at him, in a trance. Her brother NICK nudges
her in the ribs. She pulls a face.
62B MURTAUGH 62B
Has also noticed his daughter's attentions, and you can
bet he's not all that happy about it.
63. EXT. MURTAUGH'S HOIJSE - DRIVEWAY - BOAT - NIGHT 63
Tirsh Murtaugh wheeling garbage pail to curbside.
TRISH
(sarcastically)
That's okay, honey. I'll take
out the garbage.
Boat. Murtaugh's head appears sheepishly from within.
MURTAUGH
Yeah. Thanks, honey.
On board boat, Murtaugh is working on the engine. Riggs
sitting on driver's seat.
MURTAUGH
Whaddaya think?
RIGGS
You know anything about boats,
Roger?
MURTAUGH
Know how much they cost.
RIGGS
I mean, can you sail this thing?
MURTAUGH
What's wrong with you? This ain't
a sail boat.
RIGGS
(smiling)
That's what I thought.
MURTAUGH
No trick to it. That's the front.
That's the back. Water all around.
Why you gotta make things so
complicated?
RIGGS
I don't. That's just how they are.
Murtaugh opens an ice chest, takes a beer for himself
and tosses one to Riggs.
MURTAUGH
Oh, yeah. You mean Amanda
Hunsacker's murder?
RIGGS
Now, did I mention that?
MURTAUGH
You don't have to. I can read
your mind.
Riggs makes no reply. He just looks at Murtaugh over
the rim of his beer can.
MURTAUGH
I don't get you, Riggs. What's the
problem? We got one dead girl and
one dead guy. Dead guy killed the
dead girl and we killed the dead
guy 'cause he wanted us to be dead
guys. Seems pretty easy to me.
Riggs has wandered over to the instrument panel. He in-
spects the switches and gauges.
MURTAUGH
Look, her sugar daddy was dealin'
drugs. She said somethin'... or
did somethin'... or saw somethin'
she shouldn't have, and he pitched
her off the balcony into the sweet
by-an'-by.
(beat)
That's why he came at us today
with a shotgun.
RIGGS
I don't know. Sounds a little
too neat to me.
MURTAUGH
Of course it's neat. And what's
wrong with neat? I like neat.
Riggs flips a switch and the MOTOR ROARS to life.
Murtaugh leaps up.
MURTAUGH
Hey! Watch what you're doin'!
Murtaugh fumbles with the switches in a futile effort to
turn off the engine. But Riggs knows exactly which
switch to flip.
RIGGS
Lookin' for this?
He silences the engine. Murtaugh glares at him.
MURTAUGH
You asshole.
RIANNE
Hi, Dad...
Murtaugh jumps, startled by his daughter's arrival.
Rianne and Riggs exchange a glance.
MURTAUGH
What is it, Rianne?
RIANNE
Mark wants to take me out to a
club tomorrow night.
MURTAUGH
You're grounded -- you know that.
RIANNE
Please, Daddy ...
MURTAUGH
Which one is Mark, anyway?
RIANNE
The blond one.
MURTAUGH
Oh, yeah. The one with pits in
his face.
RIANNE
Those are dimples.
MURTAUGH
Those are pits. When he smiles,
I can see through his head.
(beat)
The answer is no. End of story.
RIGGS
C'mon, Rog. Have a heart.
Murtaugh looks at Riggs -- not appreciative of his
intervention.
MURTAUGH
The girl was smoking pot in the
house. She's grounded!
RIANNE
Next time I'll just take a beer
instead. Why can I have a beer
and not a joint? It's not coke,
you know, Dad.
Murtaugh looks down sheepishly at the can of beer in his
hand. Riggs grins to himself.
MURTAUGH
'Cause right now, beer's legal and
grass ain't. Right or wrong.
RIANNE
Wrong.
RIGGS
Right.
She stalks off. After a moment, Murtaugh looks over to
Riggs.
MURTAUGH
I've lost track... did we resolve
anything here tonight?
Riggs shakes his head, smiles and starts to climb off
the boat.
RIGGS
Yeah. We resolved that your wife
takes out the garbage. Your
daughter smokes pot, which is
illegal but shouldn't be -- that
you don't know from boats, and
you got one hell of a family, guy.
Walking towards truck together.
MURTAUGH
Thanks.
RIGGS
Enjoyed the meal.
MURTAUGH
Bullshit, but thanks anyway.
A pause. Riggs stands there. Then:
RIGGS
You don't trust me at all, do you?
MURTAUGH
Tell you what. Make it through
tomorrow without killing anybody.
Especially me. Or yourself.
Then I'll start trusting you.
RIGGS
Fair enough.
He walks toward his truck. Stops.
RIGGS
I do it real good, you know.
MURTAUGH
Do what?
RIGGS
Kill people ... Only thing I ever
did good. When I was nineteen, I
did a guy in Laos from a thousand
yards out.
Rifle shot in high wind.
(beat)
Ten guys in the world coulda made
that shot. Huh. Only thing I was
ever good at.
(pause; then)
Well, see you tomorrow.
MURTAUGH
Yeah. See you then.
Riggs drives away. Murtaugh watches him. Turns. On the
way back inside, he flicks on the Christmas lights.
64 OMITTED 64
65 EXT. SUNSET STRIP - NIGHT 65
Martin Riggs cruises along in his battered pickup truck
past all-night dives and porno houses. The streets are
nearly deserted. Except for a young HOOKER on the cor-
ner. Real young, maybe seventeen. Riggs sees her and
pulls over to the curb. The Hooker approaches.
HOOKER
Hi, handsome. Looking for
something?
RIGGS
Aren't we all?
HOOKER
(nods)
Are you affiliated with any law
enforcement organization?
RIGGS
(pause; then)
No. Get in the car.
She does. Closes the door.
RIGGS
How old are you?
HOOKER
Twenty-two.
RIGGS
Bullshit.
HOOKER
Why, you like 'em young?
RIGGS
Younger the better. How old are
you?
HOOKER
(almost shyly)
Sixteen.
Riggs nods. Takes out a hundred-dollar bill and sets it
in her lap.
HOOKER
Wow.
(beat)
So, what do you want?
RIGGS
I want you to come home and
watch television with me.
He drives away from the curb.
66 INT. MURTAUGH HOME - NIGHT 66
The house is dark and quiet at this hour. Roger Murtaugh
fixes a sandwich in the kitchen. Rickles the CAT PURRS,
rubs against his leg.
MURTAUGH
Hey.
He kicks it aside. Notices a package on the counter,
together with a scribbled crayon note:
HAPPY BIRTHDAY SERGEANT MURTAUGH
The gift is a 99c special, right off the rack at Pic N'
Save: The TUFF N' READY Police Action Playset; Tiny
plastic gun, made in Taiwan. Tiny plastic badge.
Murtaugh smiles. Notices another package next to it.
Frowns. Its label reads: ROGER MURTAUGH: POLICE
EVIDENCE.
67 INT. LIVING ROOM 67
He opens the package. Two things: a high school year-
book; also a videocassette. Takes it, slides it into a
VCR machine. Turns on the television.
TIME CUT TO:
67A INT./EXT. RIGGS' TRAILER - NIGHT 67A
The Hooker watches TV -- really enjoying the Three
Stooges. Riggs stands apart from her. He's not watch-
ing TV; he's watching her watching TV.
He wears a melancholy expression. The world is full of
happy families like Murtaugh's, but he has to get by
like this.
His eyes shift to a photo of his wife. He picks it up
and views it sadly.
HOOKER
(turning to him)
You're not having a very good
time, are you?
Riggs puts down the photo.
RIGGS
(sweetly)
You don't know that. Maybe this
is how I look when I'm having a
good time. Maybe I'm having the
best time of my life.
HOOKER
(after a beat)
Are you?
Riggs doesn't answer.
HOOKER
I know... sing me something.
RIGGS
I don't sing.
HOOKER
Come on. Sing me a song.
RIGGS
I don't know any songs.
HOOKER
Not even a Christmas song?
Everybody knows a Christmas song.
Riggs shrugs and makes a half-hearted attempt:
RIGGS
Something through the snow,
in a one-horse open sleigh ...
HOOKER
Good. That's good.
(helps him out)
Over the hills we go,
laughing all the way.
RIGGS
Something something ring,
making something bright ...
HOOKER
Oh, what fun it is to ride ...
RIGGS
To grandma's house tonight!
They know they got it wrong, but they're pleased with
themselves just the same. The Hooker hugs Riggs impul-
sively. Riggs looks uncomfortable. He'd like to show
her some platonic affection, but he knows that's
impossible.
He gently unwraps her arms from around his neck.
RIGGS
I better take you back now.
68 SAME PLACE - LITTLE BIT LATER 68
Murtaugh is in front of the TV. On his lap is a high
school yearbook. Open to the middle. He glances down,
sees -- a photograph of Amanda Lloyd. Senior picture.
Smiling. Young. The girl most likely to. He looks up
up at the television. On the screen Amanda Lloyd is
writhing in ecstasy. Smiling. Murtaugh continues to
watch. Lights another cigarette. There is a sad,
faraway look on his face.
CUT TO:
69 INT. HALLWAY 69
Very late now. Murtaugh walks down the hall to a bedroom
door. Opens it a fraction. Inside -- His daughter
Rianne is asleep.
A shaft of moonlight falls across the bed. She is more
beautiful than we've ever seen her.
Murtaugh crosses to the bed, leans down, and kisses her
forehead. She stirs in her sleep, smiles like a cat,
and whispers:
RIANNIE
... Mark ...
Murtaugh recoils. Stands up. We realize that up until
this moment, see, he thought she was maybe a virgin ...
70 INT. MURTAUGH'S BEDROOM 70
He takes off his robe, drapes it on a chair. Gets into
bed silently next to his sleeping wife. Lies awake,
staring up at the ceiling. The RAIN BEATS on the window,
throwing odd shadows across his face. He drifts toward
sleep. As he does, we ever so slowly ...
CROSS FADE TO:
71 INT. MURTAUGH BEDROOM 71
Sunlight streams through the windows, Murtaugh stirs
groggily, forces open his eyes. Staring him in the face
is Martin Riggs' scruffy, early morning face. Murtaugh
frowns.
MURTAUGH
... Martin... ?
RIGGS
Good morning, Roger. I've been
doing a little thinking.
Murtaugh just stares at him.
RIGGS
About the night Amanda Hunsak.er
died.
Murtaugh grimaces.
MURTAUGH
Do you know what time it is ... ?
RIGGS
Day time?
MURTAUGH
I'll get dressed.
CUT TO:
72 INT. MURTAUGH KITCHEN 72
In the kitchen Trish is singing something bluesy, fixing
coffee. At the table Nick is drinking milk. Murtaugh
sits. Riggs takes off his shoulder holster, and with
meticulous care drapes it delicately over the back of
his chair. Sits opposite Murtaugh.
RIGGS
You're seriously using ketchup?
MURTAUGH
Yeah.
RIGGS
On eggs.
MURTAUGH
Yeah.
(beat)
Who made the ketchup?
RIGGS
Heinz.
MURTAUGH
Who made the eggs?
Riggs looks to Trish.
TRISH
(across the room)
You two are so hilarious I could
bust.
Riggs leans forward.
RIGGS
Roger.
MURTAUGH
Yeah.
RIGGS
That hooker who witnessed the
jump the other night. What was
her name?
MURTAUGH
Dixie.
CARRIE
What's a hooker?
MURTAUGH
Shh, quiet, I'm combatting crime.
NICK
A hooker is a ...
RIGGS
(interrupts)
Right, and she's in Century City
witnessing Amanda Hunsaker's suicide
MURTAUGH
or murder --
RIGGS
right, or murder, and my question
is... what is she doing there? I
called Wilshire Vice, that's not
her usual turf.
MURTAUGH
Wow.
(beat)
Wow. That's really reaching.
RIGGS
Cut me a break, it's a hunch, Roger.
I'm having a hunch.
MURTAUGH
You couldn't have it at home, you
had to come here at 7:30 A.M. and
have it.
RIGGS
7:35, and yes, I thought you'd be
excited.
MURTAUGH
I'm thrilled.
(pause)
Okay.
RIGGS
Okay, what?
MURTAUGH
Okay, go for it. I'm listening.
CUT TO:
73 INT. OUTDOOR FIRING PANGE - DAY 73
Riggs and Murtaugh stand on line at the range. Around
them the echoing BOOM of gunshots fills the morning air.
They struggle to be heard over the tumult:
MURTAUGH
We know someone was in bed with
Amanda Lloyd the night she died.
RIGGS
Right. 'Til now we assumed it was
a man.
MURTAUGH
Okay. Let's say it was Dixie.
RIGGS
Okay. Disgusting, but okay: Let's
say Dixie slipped the drain cleaner
into the pills.
MURTAUGH
Say someone paid her to do it.
RIGGS
Sure. She thinks, terrific, Amanda
swallows a couple downers and boom,
she's dead. Then Dixie --
MURTAUGH
If it was her --
RIGGS
Right, right, then Dixie has
plenty of time to spritz the place
up, get out, whatever.
MURTAUGH
Except Amanda jumps out the window.
RIGGS
Or Dixie pushes her. Either way
MURTAUGH
Either way, she's gotta make a
fast getaway, 'cause now the
body's public. She hauls ass
downstairs.
RIGGS
People are coming out to see what
happened.
MURTAUGH
Someone spots her. She says 'shit.'
RIGGS
Right. She actually stops and
says, 'Shit.'
MURTAUGH
Or, 'Damn.'
RIGGS
Or 'Golly, I've been spotted.'
The point being --
MURTAUGH
The point being, now she has to
cover her ass.
RIGGS
Right. So she says, 'Officer,
officer, I saw the whole thing.'
MURTAUGH
Right.
RIGGS
Right.
MURTAUGH
(sighs)
That's pretty fucking thin.
RIGGS
Very thin.
MURTAUGH
(smiles)
Hell with it. Thin's my middle
name.
RIGGS
Your wife's cooking, I'm not
surprised.
MURTAUGH
Would you lay off the cooking?
RIGGS
Tell her that.
Riggs steps to the line. Draws the Beretta, fires off
a full clip. Three-shot rhythms, two in the chest, one
in the head, two in the chest, one in the head.
Removes the magazines lovingly snaps in a new one.
MURTAUGH
You sleep with that thing under
your pillow?
RIGGS
I would if I slept.
MURTAUGH
Here, stand back.
Murtaugh steps to the red line. Stretches. Cracks his
neck. Shifts from foot to foot. Finally steadies him-
self. A moment then: He cross-draws with lightning
swiftness. -- BANG -- ! The REPORT is DEAFENING. The
target grows a neat third eye. Perfect shot. Dead
center. Murtaugh grins, holsters his gun.
MURTAUGH
Hey-hey. Would'ja look at that?
Pretty good for an old man.
Riggs shrugs. Draws. FIRES. He isn't even looking.
Nonetheless. -- He puts a magnum round right through
the hole made by Murtaugh's .38. The hole gets .60
inches wider. Murtaugh scowls.
MURTAUGH
Yeah, yeah. Eat me.
He stalks away, pissed off.
74 OMITTED 74
75 EXT. WEST L.A. STREET - MORNING 75
Murtaugh's car glides up to the curb. In front of a
row of neat frame houses. Old neighborhood. Late model
cars. A LITTLE black KID playing on the sidewalk.
The two cops get out, stride toward a cottage set back
from the street. They pass the Little Kid who is playing
with a plastic bucket and a headless Star Wars figure.
RIGGS
Hey, kid. What'cha doing?
The Kid grins, obviously pleased with himself.
LITTLE KID
I put this on top and it fall
down.
He demonstrates. He puts it on top. It falls down. He
grins happily. Riggs shakes his head.
RIGGS
Good thinking.
They keep walking. Toward the cottage.
MURTAUGH
Very thin.
RIGGS
Probably nothing.
They mount the steps to the walk. As they do -- The
HOUSE suddenly EXPLODES. It BLOWS APART concussively.
There is a flash of light, a loud, flat BANG --! And the
thing tears to pieces. Glass blows out. Wood sprays.
Flying shrapnel. A wall of flame. Riggs hits the dirt,
smothering the Little black Kid. Murtaugh dives for cover
behind a telephone pole. A piece of shrapnel imbeds it-
self; right next to his head. Carnage. Noise. The
tumult slowly begins to fade. Echoes. Flames rage to
the sky. Smoke rolls. Beams collapse. The cottage is
no more. Murtaugh climbs to his feet, dazed; stares at
the rubble. Looks over toward Riggs, who is getting
up off the Kid. The Kid is shaken, but unhurt.
MURTAUGH
Hey.
Riggs turns.
MURTAUGH
You're on fire.
Riggs looks. The back of his coat is completely ablaze.
RIGGS
Shit.
He takes it off, flings it aside.
Goes up to Murtaugh- Lights a cigarette.
RIGGS
Probably nothing.
MURTAUGH
Thin. Very thin.
76 EXT. BURNED-OUT COTTAGE - LATER 76
Cops prowl through the gutted remains. Charred and
black. Nothing left. A body goes by on a stretcher.
MURTAUGH stops it.
MURTAUGH
Ho.
(he looks under
the sheet)
Jesus.
ATTENDANT
We're hoping to find some teeth.
in there. Otherwise, could be
anybody. Black, white ... Could
be a fuckin' bowl of soup, for
all we --
MURTAUGH
Okay, okay.
The stretcher continues toward the waiting truck.
Murtaugh looks off, whispers:
MURTAUGH
Bye-bye, Dixie.
77 ANOTHER ANGLE 77
Martin Riggs is examining a twisted hunk of metal as
Murtaugh walks up beside him.
MURTAUGH
What'cha got?
RIGGS
Part of the device.
(beat)
Holy cow.
MURTAUGH
What?
RIGGS
Artwork. This is goddamn artwork.
MURTAUGH
Swell. I'm glad you liked it.
RIGGS
You don't understand. This is real
pro stuff. Haven't seen this since ...
well, since the war.
MURTAUGH
Come again?
RIGGS
C.I.A. used to hire mercs who used
this same setup. Mercury switches.
Murtaugh frowns. A PATROL COP taps him on the shoulder.
PATROL COP
Sir, I think you'd better come
with me.
Riggs-and Murtaugh exchange glances. They move off,
across the street.
78 EXT. STREET - BACK OF FIRE TRUCK 78
Riggs and Murtaugh stand by the rear of the truck. A
CONSTRUCTION CREW watches from behind, heavy equipment
idling softly. Next to them sits the little blackkid
from earlier, coloring with crayons. His mother
hovers ...
COP
Okay, here it is. The little kid
says he saw someone working on
the meter this morning.
MURTAUGH
Where?
COP
Across the street at Dixie's. He
was playin' some kind of game,
hidin' under the stairs. Says he
saw the guy pretty good.
MURTAUGH
Jesus. This could be a break.
RIGGS
You kidding? The kid's six years
old.
COP
If that.
MURTAUGH
You call the gas company?
COP
Sure did. No one supposed to
check that meter for at least
another month.
MURTAUGH
(nods)
Let me handle this.
COP
Be my guest.
RIGGS
Wanna wear the chicken suit? I got
some clown makeup.
MURTAUGH
Stow it.
He crosses to the boy.
MURTAUGH
Hi. I'm Detective Murtaugh. What's
your name?
ALFRED (LITTLE KID)
Alfred.
He stares at Murtaugh with eyes like saucers.
MURTAUGH
How old are you, Alfred?
ALFRED
Six.
MURTAUGH
Wow. Six.
(beat)
Bet you like the Gobots, huh?
Alfred nods.
MURTAUGH
Me, I'm a G.I. Joe man.
ALFRED
(points)
Is that a real gun?
MURTAUGH
Yes, it is.
ALFRED
Do you kill people?
MURTAUGH
No. If a guy is hurting someone,
I try to shoot him in the arm or
something. Just to stop him.
ALFRED
Momma says policeman shoot black
people.
Murtaugh grimaces. Alfred's mother looks away quickly.
MURTAUGH
Alfred, this man you saw. The meter
man ... ?
(beat)
You get a good look at him?
ALFRED
I saw him.
MURTAUGH
Great. Listen, you ever watch
'Starsky and Hutch'? 'Cause the
police, sometimes they need help.
They need police helpers.
Detectives.
(he takes out
a plastic badge,
puts it on
Alfred's chest)
If you want, you can be a junior
detective. If you want.
The kid looks at him. Distrust.
MURTAUGH
Keep it, it's yours. Official
detective.
Alfred nods, grins.
MURTAUGH
The man at the meter. Can you ...
picture him in your head? Think
about what he looked like. Got
it ?
Alfred nods. Murtaugh picks up Alfred's box of crayons.
Hands it to the little boy.
MURTAUGH
I want you to draw him for me.
ALFRED
I'm a good drawer.
MURTAUGH
Try to draw the man.
Riggs clears his throat. Rolls his eyes.
RIGGS
Oh, brother. This is good. I like
this.
MURTAUGH
Can it, Martin.
RIGGS
We're gonna put out an A.P.B. on Big
Bird.
MURTAUGH
Very funny.
RIGGS
(laughs)
Attention all units. Large yellow
bird. Silly voice.
MURTAUGH
You're hilarious. Alfred, draw the
man, okay?
Alfred nods, takes the crayons, and carefully selects a
bunch of colors. Lays them out like Da Vinci fixing his
palette. Riggs shakes his head.
RIGGS
Brilliant police work? I think so.
TIME CUT:
79 ANOTHER ANGLE 79
Minutes have passed.
MURTAUGH
Martin, have a look at this.
Riggs crosses. Alfred has finished his drawing, and
guess what? It's hilariously bad. Like a six-year-old
drew it or something. Riggs rubs his eyes.
RIGGS
Oh, my ...
(begins to
laugh)
... Oh, my...
He laughs even harder now. Murtaugh scowls,
snatches the picture away.
MURTAUGH
Terrific. Very professional.
Riggs is hooting. Murtaugh shows the picture to Alfred.
ALFRED
He laugh at my picture.
MURTAUGH
Shhh. Don't mind him. He's
crazy.
ALFRED
I'm a good drawer.
MURTAUGH
You bet.
(points)
Alfred. This is ... the man's arm,
right?
ALFRED
Yeah.
MURTAUGH
Okay. Now this mark. Is this ...
What is this?
ALFRED
He had it on his arm.
Riggs stops laughing. Moves in closer.
RIGGS
Whoa. What was on his arm?
MURTAUGH
Was it a birthmark?
(points to
his arm)
Was it like this?
ALFRED
No. It was pained.
MURTAUGH
Pained.
RIGGS
Pained, pained. What's he saying?
MURTAUGH
Sssshh.
(beat)
It was ... painted?
ALFRED
Yeah.
MURTAUGH
Like a tattoo?
(beat)
Do you watch Popeye? Was it a
tattoo like Popeye has?
Riggs rolls up his sleeve, exposes his Marine tattoo.
You've seen the type: A Tweety Bird with a machine gun,
or some such.
RIGGS
This is a tattoo.
The boy's eyes go wide once again. He points at Riggs' arm.
ALFRED
It was that.
The cops stop, puzzled.
MURTAUGH
It was that? You mean... just
like that...?
ALFRED
Yeah. Man had the same thing.
RIGGS
You're sure?
Alfred nods. The cops exchange glances:
RIGGS
Special Forces tattoo ... ?
MURTAUGH
Martin.
RIGGS
Yeah.
MURTAUGH
What the hell are we into here ... ?
80 EXT. CLIFFSIDE HOUSE - DAY 80
A sprawling, expensive villa nestled on the side of a
bluff overlooking the ocean. Terraces, verandahs,
gazebos. Architecture that merits three syllables. The
ocean looks cheap by comparison. A memorial service is
in progress. A group of people, mostly young, friends
of Amanda Lloyd; all are dressed in funeral black.
81 NEARBY -- 81
Martin Riggs is collapsed in a lawn chair, smoking and
looking thoroughly out of place. Seeing the girl, he
frowns ... puffs on his cigarette, and rolls a quarter
over his knuckles like a stage magician. Nimble, trained
fingers. A thoroughly unconscious habit.
82 ANOTHER ANGLE 82
Dick Lloyd looks worse than ever. He stands, staring
out over the ocean -- as a hand comes out of nowhere ...
grabs his shoulder, and spins him roughly around: Face-
to-face with Roger Murtaugh. Eyes burning like cold fire.
MURTAUGH
Hi, guy.
LLOYD
Roger... What ... What's up, buddy?
MURTAUGH
Not much.
(beat)
Wanna tell me about it?
LLOYD
Tell you about what?
MURTAUGH
Don't bullshit me. That's over.
(beat)
Your daughter wasn't killed
because of something she was into.
She was killed because of something
you're into. Stop me if I'm wrong.
LLOYD
I don't know what you're talking
about. Roger, I ...
MURTAUGH
Keep your hands in front.
LLOYD
(stops;
startled)
Hey. Take it easy, man.
MURTAUGH
Fuck easy.
(beat)
When you called me the other day,
you were gonna blow the whistle,
weren't you?
LLOYD
Blow the whistle on what?
MURTAUGH
You tell me. You were gonna spill
your guts. So they killed your
daughter. Tell me I'm wrong.
Lloyd swallows hard, flustered. He can't meet Murtaugh's
eyes.
MURTAUGH
Talk to me.
LLOYD
Can't ... can't do that ...
MURTAUGH
They killed your daughter.
LLOYD
I...
MURTAUGH
They paid off a hooker to poison
your daughter. Talk to me!
Lloyd shoots a desperate glance across the lawn. At his
other daughter, Amanda's twin.
LLOYD
Dammit, Roger, I've... ve o
another daughter!
MURTAUH
She'll be protected.
(beat)
It's over, pal.
LLOYD
Protected. That's a laugh... You
don't know these people.
MURTAUGH
Acquaint me.
TIME CUT:
83 INT. LLOYD'S HOUSE - MOMENTS LATER 83
The two men are inside now. The sunlight filters in
through a large picture window from the lawn.
Lloyd is pacing back and forth. He touches his stomach
in the classic gesture of ulcer-carriers everywhere.
Opens the fridge, removes a carton of milk. There must
be three cases of the stuff. Drinks, turns to Murtaugh.
A man at the end of his rope:
LLOYD
It goes all the way back to the
war.
MURTAUGH
I'm listening.
LLOYD
I ended up working for a group
called Air America. C.I.A. front,
secretly ran the entire war out of
Laos. I was part of a special
unit called Shadow Company. Mercs.
Trained killers. When Charley was
bringing in heroin to finance the
V.C. government, Shadow Company
went in and burned it all down. We
killed everybody. But we also ...
formed a plan.
MURTAUGH
Keep talking.
LLOYD
Couple of years ago, Shadow Company
got together again. The war was
over, but we still had a list of
sources. In Asia.
MURTAUGH
And ... ?
LLOYD
And we've been bringing it in ever
since.
MURTAUGH
Bringing what in?
LLOYD
Think real hard.
MURTAUGH
Heroin.
LLOYD
(nods)
Two shipments a year. Run by
ex-C.I.A. Soldiers, mercs. No
one knows.
MURTAUGH
You son of a bitch.
Lloyd does not reply. A pause, then:
MURTAUGH
If you were getting cold feet,
why'd they kill Amanda? Why not
just kill you?
LLOYD
They can't. They need me.
MURTAUGH
Why?
LLOYD
My bank. It's the front. Makes
everything look good on the tax
report.
MURTAUGH
The tax report ... ?
LLOYD
This is big business, Roger.
MURTAUGH
(ice cold)
Not any more. I'm gonna burn
it down.
LLOYD
You can't. It's too big. These
guys are trained killers.
MURTAUGH
Tell me about the next shipment.
LLOYD
No. No way.
Murtaugh grabs a framed picture of Amanda, slams it
down on a wooden bul--cher block. The GLASS SHATTERS.
Lloyd stares.
MURTAUGH
Tell me!!!
Lloyd flinches. Leans back, a dreamy look in his eyes.
Speaks from very far away ...
LLOYD
(softly)
Nothing ... wrong with the kids,
Roger. We're all fucked up. Us
old bastards ... We're killing them.
And suddenly there is a gun in his hand. Aimed at Murtaugh.
LLOYD
Back off.
MURTAUGH
Oh, swell. Good move.
LLOYD
I'm not kidding. I'm in too far
now.
Murtaugh does not budge. Lloyd cocks the hammer.
LLOYD
The gun is silenced, Roger.
Murtaugh stares him down. Eyes like fire.
MURTAUGH
What's it gonna be, buddy ... ?
You gonna save my life, just so
you can snuff me twenty years
later...?
LLOYD
Things are different now.
MURTAUGH
I guess.
A moment. Lloyd stares intently. Finger sweating on the
trigger.
MURTAUGH
If you can do it, do it. I don't
fucking care anymore.
LLoyd blinks. Swallows. Another moment. Finally -- He
lowers the gun. Sighs.
LLOYD
... What do you want to know... ?
Murtaugh relaxes visibly. And that's when two things
happen. The picture WINDOW GLASS suddenly COLLAPSES.
Falls TINKLING into a million shards. And the carton of
milk in Lloyd's hand pops, spurting milk all over the
front of his black suit. He frowns. Stares at the
dribbling milk. Blinks. And his eyes snap open wide, as
blood seeps out of his shirt, spattering the floor.
LLOYD
Roger -- !
With his dying breath, he leaps in front of Murtaugh.
Takes the SECOND BULLET. The one meant for Murtaugh.
It blows him into Roger, takes them both to the floor in
a breath-crushing impact. More BULLETS CHOP the kitchen.
China PLATES BURST into a glassy spray. Food spatters
and gushes, staining the walls. Murtaugh rolls free,
then, a man possessed: Screams out the window:
MURTAUGH
Riggs!!!
84 EXT. LAWN 84
Murtaugh's voice is far away. Riggs looks up from his
lawn chair. Notices two things: One: Everything seems
normal. Nobody has heard the shots. Two: The glass in
the kitchen window... something strange, what the hell
is it ... oh, yeah, it's broken, someone broke the glass ...
And Riggs is on his feet in the blink of an eye.
85 BACK INSIDE 85
Murtaugh is at the window. Gun pointed.
MURTAUGH
Riggs!!!
86 MURTAUGH'S POV 86
reveals a crowd of people, milling back and forth, he
has no idea where the sniper is, and suddenly BAM -- !
The wood blows out not two inches from his head and he
ducks, and meanwhile -- back outside ...
87 MARTIN RIGGS 87
He's on the move. He jogs ... trots ... runs ... Noticing a
lone man in black, striding quickly across the lawn,
striding into the crowd ... toward the edge of the bluff ...
Things happen fast now, pay attention, as -- The man
turns, sees Riggs ... Riggs sees him... and the man is
none other than Mr. Joshua. Crew cut. Sunglasses.
Moving fast.
88 MURTAUGH 88
diving out the window. Hits. Rolls, comes up. Scream-
ing, waving at Riggs ...
89 RIGGS 89
Gun out ... moving fast, shoving through the crowd, people
screaming now, "Jesus, he's got a gun -- !" Running
across the lawn, Murtaugh thirty yards behind, moving,
hard and fast, both guns drawn, pushing/shoving, knock-
ing people ass over teacups and meanwhile let us not
forget --
90 JOSHUA 90
moving at a dead run, now, gun out ... at the edge of the
cliff. People all around him, confused, I mean Jesus,
what the hell is all this shooting about, and Riggs can't
get a clear shot ... He's sweeping the gun, back and forth,
bodies crossing in front of him... all the wrong bodies,
Goddammit...! Moving forward, shouting:
RIGGS
Lie down!!! Down!!!
Murtaugh, springing hell bent for leather -- and folks,
grab your hats ... because just then, a BELL COBPA HELI-
COPTER crests the edge of the bluff.
An explosion of sound...
As it rises like an avenging angel ...
Hovers, shattering the air with turbo-throb, sandblasting
the hillside with a roto-wash of loose dirt, tables,
chairs, everything that's not nailed down ...
Screaming, chaos, frenzy.
Three words that apply to this scene.
And in the midst of all this -- Joshua steps onto the
chopper and is hauled inside.
No expression.
The total professional.
And then, my friends, it's bye-bye time. The CHOPPER
ROARS like a behemoth, tilts --
slips over the side and plummets away ...
Slick. Very slick.
Except Martin Riggs it not impressed.
He's still running, you see ...
Dives flat at the edge of the cliff, nearly flings
himself over the damn edge ...
GUN extended like it's part of his arm...
Finger flat on the trigger ...
Blowing SHOT after SHOT at the retreating chopper ...
BAM-BAM-BAM His face contorted in a rictus of
animal concentration...
And he wings the chopper, even. POP
spray of fiberglass, but nossir, no cigar...
cause the damn chopper flies away.
And Riggs dumps his magazine, stuffs in a new one ...
and Jesus Christ he keeps FIRING.
As Murtaugh walks up beside him. Stares down.
Gun held loose at his side.
Riggs still FIRES, BAM-BAM-BAM
doesn't know it yet ...
Until his MAGAZINE CLICKS empty.
He lies flat.
Stares.
People screaming, running away.
Murtaugh standing over him, staring down at this animal
with a gun, who even now refuses to look away from the
retreating chopper, whose gun even now continues to
follow its course out over the sea.
Hands, clutching tlie barrel.
Finally, they relax.
Riggs shuts his eyes.
Murtaugh stares.
---------------------------------------------------------------
(CONTINUED)
and a silent
It's over, but he
7 8
90 CONTINUED: (2) 90
------------------------------------------------------------------
MURTAUGH
You through?
Riggs looks up at him. His eyes look like a demon's.
RIGGS
I haven't even started.
CUT TO:
91 INT. HELICOPTER - SAME TIME 91
Joshua and his pilot are cruising over the surf at break-
neck speed, the rotor stirring tiny geysers of water.
Joshua speaks into a radio microphone.
JOSHUA
Yes, sir ... Yes, sir, Mr. Lloyd
is dead. I'm afraid, however,
that another problem exists.
92 INTERCUT - THE GENERAL 92
In his van, speaking on mobile phone.
GENERAL
Define.
JOSHUA
Lloyd spoke to the cops, sir.
GENERAL
Are the cops dead?
JOSHUA
No, sir. I missed.
There is a significant pause. Joshua licks his lips.
Then:
GENERAL
That's very disappointing. The
police may know everything. The
whole operation, yes?
JOSHUA
Yes. Awaiting orders, sir.
GENERAL
Joshua, I think it's time to turn
up the heat.
93 EXT. VIEWSITE - NIGHT 93
A black Camaro is parked at the side of the road. The
city twinkles beyond.
94 INT. CAR - SAME 94
Two teenagers, engaged in a first-rate makeout session.
One of them is Roger Murtaugh's daughter Rianne. The
other is MARK, he of the hilarious dimples. They are
kissing when Rianne suddenly pulls away:
RIANNE
Mark, I gotta get home.
MARK
Would you quit worrying? Your
mom thinks you're asleep and
your dad's busy shooting crooks.
RIANNE
He said he'll shoot you if we
have sex.
MARK
Some things are worth dying for.
He leans in and kisses her. Passion, horniness. Some-
thing. He runs a hand inside her sweater. She starts to
resist. Gives in.
RIANNE
Wait.
She takes out her gum and sticks it to the steering wheel. *
Leans over to kiss him again *
94A FACE 94A *
comes INTO FRAME. Right outside the window. Crewcut. *
Shirt and tie. No less than Mr. Joshua himself, as we -- *
CUT TO:
95 EXT. THIRD STREET - NIGHT 95
Martin Riggs walks slowly down the boulevard. In one
hand he carries a snapshot of Amanda Lloyd. Male pros-
titutes take one look at him and flee.
He stops to light a cigarette. As he does -- He notices
a reflection in the silver lighter.
Two pinpoints of light. Moving. He throws away the cig-
arette. Spins, drawing his gun. HEADLIGHTS, as a car
comes barreling out of the darkness. Bearing down on
Riggs at fifty miles an hour. Riggs FIRES. The WIND-
SHIELD SPLINTERS. No dice. The car keeps coming. Riggs
FIRES again, sprints for cover -- As a mercenary leans
out of the car window with a pump SHOTGUN. Triggers
THREE BLASTS at Riggs. The first two blow out chunks of
scenery. The third takes Riggs in the chest. Blows him
backward through a store window. GLASS SHATTERS. He hits
the ground in a heap. The CAR SHRIEKS off into the night,
LAYING RUBBER. The ECHO of gunfire slowly FADES on the
wind...
96 INSIDE DARKENED STORE 96
Riggs lies crumpled in a pool of broken glass. Murtaugh
charges from across the street. He throws himself down
beside the dead Riggs. Rips open Riggs' shirt revealing --
A bulletproof vest. Riggs opens his eyes.
RIGGS
I'm pissed, Roger. Now I'm pissed.
96A EXT. STORE 96A
The cops exit and cross the street toward their car.
RIGGS
Roger. Quit looking so damn
worried. I'm fine.
MURTAUGH
Two inches higher, they would've
got your head.
RIGGS
Fuck that. Two inches to the left,
they would've got my smokes.
He takes out a pack, lights one up.
RIGGS
Oh, by the way: Guy who shot me?
MURTAUGH
Yeah.
RIGGS
Same guy who shot Lloyd.
MURTAUGH
Jesus ... You sure?
RIGGS
I never forget an asshole.
MURTAUGH
(sighs)
So okay, ace: What do we do now?
RIGGS
Give up? Flee? Go far away?
MURTAUGH
Hilarious. What do we really do?
RIGGS
What else? We bury the fuckers.
You know, we solve this, we could
get famous, do shaving ads and shit.
MURTAUGH
Do goddamn Forest Lawn ads, we're
not careful.
RIGGS
Heh. Don't be a killjoy. It's
Friday night. Let's go kick ass.
MURTAUGH
You just got shot, man.
RIGGS
Exactly.
MURTAUGH
What do you mean, exactly?
RIGGS
Gives us the edge, Cochise.
(smiles)
They think I'm dead, Roger. I'm
a corpse. And aren't they just
gonna shit when I nail their
butts ... ?
They look at each other. Suddenly the police
RADIO SQUAWKS. Murtaugh answers it.
DISPATCHER (V.0.)
Four King sixty, meet four king
ninety on tach two.
MURTAUGH
King sixty, roger.
He adjusts the frequency on the radio.
PATROL COP (V.0.)
Four king ninety, four king sixty.
Got a homicide, Mulholland Drive.
MURTAUGH
Four king sixty, negative.
(beat)
Give it to Burke.
PATROL COP (V.0.)
Sorry, sixty. Captain says give
it to you. Male Caucasian, age
seventeen.
MURTAUGH
Swell. Did he have blond hair and
big dimples?
There is a long pause-. Then:
PATROL COP (V.0.)
How'd you know... ?
Suddenly, Murtaugh goes completely pale. So does Riggs.
Murtaugh hits the gas ...
97 EXT. MURTAUGH HOME - NIGHT
Murtaugh's CAR SCREECHES to the curb. Hops the sidewalk,
jolts to a stop. The two cops are out and running in a
dead heat toward the front door. Murtaugh flings open
the door. Stops. On the carpet beneath the mail slot
is a tiny envelope with SEASONS GREETINGS emblazoned
across the front. A note is attached with a paper clip.
One side reads DETECTIVE ROGER MURTAUGH. On the other
side is a message in block capitals.
YOUR DAUGHTER LOOKS REALLY PRETTY NAKED
Murtaugh tears open the envelope, afraid to breathe.
Inside is a Polaroid snapshot. The audience may get a
glimpse of it, or they may not. Either way, the effect
it has on Murtaugh is devastating. He drops the snapshot
like a live snake. Backs away, stumbles into the wall.
Shakes his head.
MURTAUGH
Bastards ... bastards ...
Riggs looks on, stunned. The TELEPHONE RINGS. RINGS
again.
RIGGS
Roger.
Murtaugh looks up. Snaps out of it. Down the hall, his
wife Trish moves to answer the phone.
MURTAUGH
Don't answer that!!
He rushes down the hall, scoops up the receiver:
MURTAUGH
Murtaugh.
He listens intently, a look of pure dread on his face.
Hangs up slowly, stares straight ahead. On the table, a
stuffed bear stares back impassively. Trish Murtaugh
looks on, terrified.
MURTAUGH
They took my kid... Bastards took
my kid ...
Beside him, Riggs' face contorts into a look of sheer,
brutal hatred ... Get ready for World War Three.
98 INT. MIDTOWN HOMICIDE - NIGHT 98
McCaskey is seated next to a bank of telephones, smoking
and reading a comic book. Behind him the fat cop we saw
earlier is conducting his choir in a thoroughly hideous
version of "Deck the Halls." The PHONE RINGS.
SINGING COPS
'Don we now our gay apparel...'
McCASKEY
McCaskey, Homicide -- just a
moment, please -- Hey, will you
guys for Chrissakes shut up?? ...
Yes, can I help you?
99 INTERCUT - McCASKEY AND MR. JOSHUA 99
Joshua is on the other end. Beside him the General
looks on intently.
JOSHUA
Hello, I'm calling from the
K.T.L.A. News department. We
heard that Sergeant ... um, Riggs,
is it ... ? had some trouble tonight,
and ...
McCASKEY
(interrupting)
Yes, Sergeant Riggs has been
killed. Shot through the chest
by unknown assailants.
JOSHUA
My God. I'm sorry.
McCASKEY
It's a bad day for all of us. And
what is your name, sir?
JOSHUA
Goodbye.
He hangs up. Turns to the General.
JOSHUA
Bingo. Riggs is out of the
picture.
GENERAL
(nods)
I want Murtaugh taken alive.
JOSHUA
He may not talk.
GENERAL
We have his little girl. He'll
talk.
100 OMITTED 100 *
101 INT. RIANNE'S BEDROOM - NIGHT 101 *
Trish Murtaugh looks like she could come apart at any *
moment.
She walks around the bedroom, slowly.
Touching things.
Touching her daughter's possessions.
Murtaugh enters. They look at each other.
He hands her the .22.
MURTAUGH
Take this. Until it's over, I
don't want you to let it out of
your sight.
His wife nods. Runs a hand through her hair. Shifts
from one foot to the other.
MURTAUGH
They're not going to hurt her.
If I do exactly what they say...
they'll let her go.
(beat)
She's coming home.
A moment. Then:
TRISH
What about you ... ?
Murtaugh says nothing.
102 INT. LIVING ROOM - SAME TIME 102
Riggs has his shirt off, and is carefully removing
slivers of glass from his shoulder. Cigarette dangling
from his lips.
He hears a noise
And spins, startled.
103 RIGGS' POV - SIX-YEAR-OLD CARRIE MURTAUGH 103
Adorable in a blue nightgown, Rickles the cat cradled
lovingly in her arms.
Riggs relaxes.
Smiles.
Carrie walks over to him.
RIGGS
Hey, Missy.
CARRIE
I can't sleep.
RIGGS
Uh-oh. Not good.
He scoops her up.
RIGGS
Who's your friend?
CARRIE
Rickles the cat.
RIGGS
Huh. He is a cutie.
Carrie looks at him then.
And she does a peculiar thing.
Slowly, she reaches out ...
Riggs looking on...
And touches his back. Runs her tiny hand over the knife
scar beneath his shoulder.
Fascinated by it.
CARRIE
Ouch.
Riggs looks at her. Smiles, and whispers softly:
RIGGS
Yeah.
(beat)
Ouch...
And he suddenly hugs the little girl for all he's worth.
Closes his eyes tight.
In that moment, every single year catches up to Riggs,
and he looks, for a moment, incredibly old, and so very,
very tired ...
104 INT. LIVING ROOM - LATER 104
Carrie is asleep on the couch, snuggled beneath a knitted
afghan. Riggs and Murtaugh stand across the room, con-
ferring in hushed tones.
RIGGS
You know they're going to kill
her.
MURTAUGH
Yes.
RIGGS
You want her back, you've got to
take her away from them.
MURTAUGH
I know.
RIGGS
Good. We do this my way.
(beat)
You shoot, you shoot to kill. Get
as many as you can. Don't miss.
MURTAUGH
I won't miss.
A pause. Riggs studies Murtaugh. Then:
RIGGS
We're gonna get bloody on this one.
(beat)
You're going to have to trust me.
Murtaugh stares at him for a moment. Then, he finally
speaks ...
MURTAUGH
... How... good are you... ?
RIGGS
What?
MURTAUGH
Are you... only crazy ... or are
you... as good as you say you
are... ?
There is a pause. Then:
RIGGS
No one can touch me.
MURTAUGH
Good. Kill every fucking one of
them. Okay ... ?
At which point, my friends, a light flickers on behind
Riggs' eyes.
We see grim determination, sure ...
But we also sense something else, oddly enough:
Anticipation.
Riggs is a machine ... and the machine is, well ...
revving up. He looks at Murtaugh:
RIGGS
Get half. I'll kill the other
half.
A moment passes between them. This will be the most
devastating night of their lives. They will probably
die.
A RINGING PHONE shatters the stillness.
RIGGS
Here we go.
105 OMITTED 105
106 INT. MARTIN RIGGS' TRAILER - DAY 106
The apartment is dark, illuminated only by a tiny lamp.
Riggs crosses to the window, peers out through slatted
blinds. On TELEVISION a group of carolers sings "TIDINGS
OF COMFORT AND JOY." Riggs looks at the wall calendar:
December 22. The CLOCK TICKS. The REFRIGERATOR HUMS.
He goes to the closet. Opens it. A cloud of dust
billows out. Reaches in, removes a weathered cardboard
box. Sits in the center of the room, takes a shot of
bourbon.
Opens the box. Inside is a set of desert fatigues. He
takes them out. Underneath a wicked-looking hunting
knife. He takes that, too. Holds it up near his face,
and it positively sparkles in the dim light ...
TIME CUT:
107 ANOTHER ANGLE 107
Riggs stands, fully dressed. Colt .22 in an ankle
holster. Combat webbing. Desert boots.
Beretta .9 millimeter, riding the right-hand thigh.
Scans his appearance in the mirror.
Breathes: in, out ... in, out...
Glances at the photograph of his wife on the wall.
Wedding gown. White lace-and-satin ruffles. Beautiful.
His face is craggy. Weathered. Covered with desert
paint. Surely he was never married ... not this demon...
RIGGS
Forgive me.
There is a KNOCK at the door. Riggs spins. Lightning
quick. Gun in hand.
VOICE (O.S.)
Me. Murtaugh.
RIGGS
Come in slow.
The door opens and Roger Murtaugh enters, carrying a
briefcase. He looks briefly at Riggs' combat get-up.
Shrugs. Sets the briefcase on the bed, opens it. It
is filled with round upon round of ammunition.
MURTAUGH
Hollow points. Armor piercing.
RIGGS
(nods)
You weren't followed?
MURTAUGH
No.
Riggs begins scooping up handfuls of ammo.
108 INT. RIGGS' TRAILER - FEW MINUTES LATER 108
Murtaugh is hooking a wire in place under his collar.
MURTAUGH
Testing, one, two, three...
RIGGS
Fine.
He straps on his hunting knife.
RIGGS
It's twelve-thirty. Let's move.
MURTAUGH
Don't get too close. They'll
spot you.
Riggs hoists a long-range sniper rifle. Infra-red scope.
RIGGS
Thousand yards okay ... ?
109 EXT. LOW DESERT - DAY 109
The desert floor shimmers with stored heat, bathed in
relentless sunlight.
A lone car, plowing along toward the horizon. Looking
lost and utterly alone beneath the clear December sky.
110 INT. CAR - ROGER MURTAUGH 110
Driving. Relentlessly onward, his face locked in a mask
of contained fury. Dust billows past the windows. Wind.
He keeps driving, straining his eyes ahead, focusing
through the hundred-degree shimmer... Noticing, finally
a series of shapes ... dim mirages... silhouettes maybe,
possibly men... possibly the men... The mirage resolves.
Mercs. Standing next to a black sedan. Murtaugh
stiffens. Leans forward, punches the cigarette lighter,
and as he does -- he whispers into his hidden
microphone.
MURTAUGH
Split.
111 EXT. CAR - DAY
It happens in the blink of an eye: The trunk pops open,
and out rolls Martin Riggs. Yanks a rope. The trunk
slams shut. Riggs hits. Rolls. Comes up, combat-
crouched, hunkers off at a dead heat. He is clad 3'.n
his desert fatigues. Magnum sniper rifle slung over
one shoulder.
112 EXT. MURTAUGH - DESERT 112
Murtaugh rolls to a halt and steps from his car.
Facing three armed mercs. Murtaugh simply stands there,
reading the odds. Scanning ...
MERC #1
Murtaugh?
MURTAUGH
Yes.
(beat)
I'm alone.
MERC #1
Hands up. Come with us.
MURTAUGH
Show me the girl.
MERC #1
She's not here.
MURTAUGH
Bullshit. Let me see her. Then
I come quietly.
The Merc nods.
113 VAN 113
comes AT US from across the desert.
114 INT. VAN 114
Inside, Rianne is gagged, helpless. She looks terrified.
Next to her, Mr. Joshua hblds a cocked pistol. Merc #1
leans in:
MERC #1
He wants to see the girl.
115 BACK OUTSIDE 115
Murtaugh waits. Sweating. Hands in pockets. And out
comes Rianne, followed by the vicious Merc. He holds a
knife squarely at her throat. Murtaugh's eyes fill with
tears. Relief that she's alive..
MERC #1
Simple exchange. You come with
us, the girl takes a walk.
MURTAUGH
Let her go now.
MERC #1
No. Take your hands out of your
pockets.
MURTAUGH
(shrugs)
Sure thing, pal...
He slowly raises his hands. In his left hand, he
clutches a shiny metal sphere. A grenade. Murtaugh's
grip is the only thing keeping it dead. The Merc swears
violently.
MURTAUGH
This fucker's alive.
(beat)
Let her go or we all die.
And that's when Mr. Joshua steps out of the car. Deadly
calm. All heads turn. Crewcut- Mirrored sunglasses.
MR. JOSHUA
Take him.
MERC #1
But sir ...
MR. JOSHUA
He's bluffing, it's a dud. He
wouldn't risk killing his
daughter.
MURTAUGH
Don't push me.
MR. JOSHUA
Take him.
116 EXT. HILLTOP - MEANWHILE 116
Far away. The car and the surrounding figures are tiny.
A lone soldier crouches. Riggs. The rifle is on his
shoulder. His eye is glued to the scope.
117 INFRA-RED IMAGE SHOWS RIANNE AND HER CAPTOR 117
Riggs' concentration is absolutely perfect. Like a
statue. He licks a finger. Raises it, testing the wind.
RIGGS
Come on... Come on...
118 BACK WITH MURTAUGH 118
As he and Joshua stare each other down. Tense. Tense.
His hand clutches the grenade. Merc #1 pushes the knife
into Rianne's throat.
MERC #1
Put the pin back in. Do it.
Murtaugh sweats. Mr. Joshua begins to walk forward,
gun extended. Cool as ice. Another step. Smiling ...
119 ON HILLTOP 119
Riggs sits dead still, focusing through the sniper
scope.
RIGGS
Come on... Move away from the girl ...
120 MURTAUGH 120
Joshua stops in front of Murtaugh. Cocks the gun.
MR. JOSHUA
Drop the fucking grenade.
MURTAUGH
I do and we die.
MR. JOSHUA
No. I don't think so.
He sights down the gun and pulls the trigger: All hell
breaks loose. Here's what happens: BAM -- ! The bullet
catches Murtaugh in the shoulder. He drops the grenade.
It rolls, and Mercs dive for cover. The Merc holding
Rianne takes a step back. Bingo.
121 ON HILL 121
Riggs grunts. FIRES.
122 BELOW 122
The Merc drops. Joshua's head snaps around. He stares
off at the distance and hisses:
JOSHUA
Riggs ... !
Meanwhile, Murtaugh rolls, comes up, gun in hand. FIRES,
BAM
MURTAUGH
Rianne, the car!
Rianne bolts. Meanwhile --
123 ON HILLTOP 123
Riggs swivels the barrel, half an inch. Grunts. FIRES.
124 DOWN BELOW 124
The black sedan's WINDSHIELD SPLINTERS. The car rocks
with the impact as the driver is killed instantly.
125 GRENADE 125
chooses that moment to EXPLODE, poof ... into a cloud of
orange smoke. A shower of confetti.
JOSHUA
Dud! It's a dud!
126 RIANNE 126
is running for the car as Joshua swivels in her direction,
lining up the UZI, FIRING a BURST -- Until a bullet from
Riggs parts his hair, sends him diving to the sand, the
Uzi sprouting flame -- As Rianne flings open the car door,
screams -- at the blood-spattered corpse which rolls off
the steering wheel. BULLETS BLAST the car. METAL POPS
and BURSTS. She jumps in.
127 MURTAUGH 127
is flat on the sand, FIRING like crazy, shot after shot --
As Rianne floors the gas, the CAR PEELING out in a' storm
of flying sand and dirt. Door open. One leg hanging
out. Plows into an atmed merc. He flies up onto the
hood, spins, still conscious, and takes aim through the
windshield, right at her ...
128 ON HILL 128
Riggs swivels, lightning quick.
RIGGS
No.
Grunts. FIRES.
129 MERC ON HOOD 129
is blown off the car.
130 RIANNE 130
screams, the dead driver sprawled against one shoulder,
her foot nailed to the gas pedal ... as the car leaps
like a kicked dog and careens off into the desert.
131 ON HILLTOP 131
Riggs lines up for another shot -- And there is a soft
CLICK -- ! He whirls. The General has arrived. Stand-
ing at the top of the hill. His M-16 is cocked and
locked.
GENERAL
You're not that fast, son.
(beat)
Drop the rifle.
He speaks into a walkie-talkie.
GENERAL
I got Riggs.
132 ON DESERT FLOOR 132
Murtaugh makes a break for it, FIRING blind -- Until the
ground before him literally EXPLODES with GUNFIRE. The
earth is chopped to tatters. Dirt flies. He stops.
Puffing for breath. Raises his hands. As the smoke
clears, Mr. Joshua approaches like a deinon through fog.
He is flanked by two mercs with Uzis-
JOSHUA
A very nice try.
(speaks into
walkie-talkie)
Kendo. Get the girl.
133 ON HILLTOP 133
Riggs stands, hands over head. The General studies him
thoughtfully.
GENERAL
Martin Riggs. Your combat record
is the stuff of legend.
RIGGS
So is yours. General Peter
McAllister, commander of Shadow
Company.
GENERAL
I see we've heard of each other.
RIGGS
Yeah. It'll almost be a shame
when I kill you.
GENERAL
(laughs)
I don't think so, son.
134 DESERT FLOOR 134
Mr. Joshua says to Murtaugh:
MR. JOSHUA
You're about to have a fun evening.
MURTAUGH
Go spit.
Joshua slams him in the head with a karate blow. He
falls.
135 EXT. DESERT ROAD - DAY 135
Rianne is driving to save her life. Screaming at the
top of her lungs, the needle touching 90 as she strug-
gles to shove the merc's dead body into the corner.
Swerving. Screaming. At which point
The sand explodes in front of her.
She shrieks. A HOWL of noise, a veritable eruption of
sand and dirt, and it's one of two things, it's either
aliens from space, descending -- or it's a Bell Cobra
helicopter.
Rianne swerves to a halt to avoid the DRONING CHOPPER,
which hovers like a behemoth, ROTORS THROBBING, as
Rianne stumbles from the car and collapses in a heap
on the sand.
Lost, alone, her tears inaudible over the HIGH, CHURN-
ING WHINE as we
FADE OUT.
FADE IN:
136 INT. BASEMENT ROOM - NIGHT 136
Riggs is naked. He is manacled hand and foot. Chained
in a bathtub full of water. Around him is a dingy con-
crete basement. Joshua steps forward. Behind him is
KENDO, an Oriental mercenary. He is working on a mechan-
ical device of some kind. Connecting wires. Riggs
grunts.
JOSHUA
Well, well. Look who's back from
the dead.
Riggs struggles against the manacles, slopping water.
JOSHUA
Please save your strength. I
believe you'll need it.
Riggs stops moving. Scowls at Joshua and says nothing.
Joshua smiles.
JOSHUA
You're just in time for a lot of
pain.
RIGGS
I'm thrilled.
JOSHUA
Oh, you will be. I daresay
you'll be ... shocked.
Kendo snickers in the corner.
RIGGS
Who's the chin?
JOSHUA
Shhh. Don't make him mad.
RIGGS
My mistake. Who's the pleasant
Oriental psychopath?
JOSHUA
His name is Kendo, and he has
forgotten more about dispensing
pain than you will ever know.
RIGGS
Terrific. Listen, guys, can we
get some Mister Bubble in here ...
JOSHUA
Please shut up.
(studies Riggs)
My, my, look at all those scars.
(beat)
See, Martin, we have a problem.
Since we have Murtaugh, we really
don't even need you. But I
believe in being thorough.
Across the room, Kendo throws a switch. A mechanical
HUMMING fills the room.
JOSHUA
Our problem -- and yours, too
is that we have some
merchandise to deliver. A rather
large shipment, we're all very
excited. It would be unfortunate,
however, if we showed up with the
goods and found ourselves
surrounded by fifty cops.
RIGGS
That would be a shame.
JOSHUA
Indeed. So you see, Martin, it
is essential that we find out
how much the police know.
RIGGS
We don't know shit. You killed
Lloyd before he could talk.
JOSHUA
I wish I could believe you.
Unfortunately, I don't. So, if
you'll be kind enough to tell
us all you know, I will kill
you quickly.
RIGGS
Such a deal, I should worry.
JOSHUA
Oh, indeed you should. See,
Martin, you ------- talk to us ...
He gestures to Kendo, who approaches. He is carrying a
very ominous device: a sponge, attached to a portable
dry-cell battery casing ... Joshua frowns at Riggs.
JOSHUA
Do you vomit?
RIGGS
Sometimes.
Joshua nods. Sighs.
JOSHUA
Back before prison reform, the
staff at Sing Sing invented a
rather unusual form of punishment.
It's know as the hummingbird
treatment. Are you familiar?
RIGGS
Please, no tickling. I hate
tickling.
JOSHUA
The 'patient' is chained naked
in a bathtub full of water. A
bath is then administered using
a battery powered sponge. The
pain is said to be so excruciating
that after twenty minutes most
men are either insane or dead.
Riggs is silent.
JOSHUA
I thought you'd like it. I can
of course, kill you now. Simply
tell me what you know.
RIGGS
Guess we're in for a long night.
'Cause I don't know scratch.
JOSHUA
We'll find out. Kendo ... ?
The Oriental moves forward. He brandishes the sponge/
battery hookup. Dips it into a bucket of water. Riggs
is sweating.
JOSHUA
Feel free to scream.
RIGGS
Haven't you guys... heard of
yuletide cheer... ?
Kendo hits Riggs with the sponge. Riggs screams. A
high, lunatic scream.
Thrashes in the water, splashing Kendo, whipping from
side to side as the room spirals back and forth out of
focus. Kids, don't try this at home. Kendo removes the
device. Riggs falls backward. Thumps against the tub.
Sucking air. Moaning.
JOSHUA
My goodness. Now that was fun,
wasn't it?
Riggs looks at him. Dripping hate.
RIGGS
I'm going to kill both of you.
JOSHUA
(laughs)
That's very funny.
(beat)
About the shipment ... ?
RIGGS
Fuck yourself.
Kendo dunks the battery.. Run it down Riggs' stomach.
He screams again, as we mercifully ...
CUT TO:
137 OMITTED 137
138 INT. DINGY BACK ROOM - SAME 138
No windows. Hardwood floors. A single chair in the
center of the room. Roger Murtaugh is strapped tightly
to the chair. His face looks like something his wife
makes for dinner. Black eyes. Swollen jaw. His shirt
is off, exposing the gunshot wound in his arm. The
General stands facing him, flanked by three mercs. They
all wear holstered sidearms.
GENERAL
The shipment, Mr. Murtaugh?
MURTAUGH
Go spit.
GENERAL
(sighs)
I hope you enjoy saying that as
much as Mr. Larch enjoys punishing
you for it.
MR. LARCH, a big redneck with no discernible compassion,
steps forward. Pours a big handful of baking salt from a
container. Packs it into Roger Murtaugh's gunshot wound.
Murtaugh groans. Shouts. Struggles.
The General loolcs on without blinking.
MURTAUGH
That's it ... if you guys think
I'm sending you a Christmas card
you're nuts.
Larch cuffs him, hard.
GENERAL
(shakes his
head)
This is going nowhere. Mr.
Larch ... ?
Larch grins, leaves the room. A pause. Murtaugh sweats,
glaring out from swollen eyelids. The General nods,
smiles.
139 INT. BASEMENT - BACK WITH RIGGS 139
as he groans and collapse back into the tub. Splash.
Moans feebly. Blood drips from his nose. Saliva drools
from his limp mouth. He looks half-dead, probably be-
cause he is just that. Kendo pulls away the battery
sponge, says to Joshua:
KENDO
He knows shit. We're safe.
JOSHUA
You're sure?
KENDO
Believe me, he'd have told us.
JOSHUA
Fine.
(clucks in
disgust)
Big, bad soldier ... my ass.
(beat)
I'm going upstairs. Deal with
him.
KENDO
Deal with him?
JOSHUA
Yeah.
(stops at
the door)
Fry his nuts.
He exits.
CUT TO:
140 INT. DINGY BACK ROOM - SAME TIME 140
The General leans over Murtaugh. Murtaugh sweats.
GENERAL
Anytime, Roger. Anytime.
(beat)
See, the thing of it is ... We know
where you live.
(frowns)
In fact, Mr. Joshua has been known
to exterminate entire families,
when he gets in... one of his
moods. Oh, speaking of that --
Larch re-enters the dingy back room. This time he's got
Murtaugh's daughter Rianne. She is clad only in a
T-shirt and bikini briefs.
RIANNE
Daddy ... please don't let them
hurt me ... !
Murtaugh goes nuts. Struggles, wrenches, bangs the chair up
and down against the floor. No use. He is completely help-
less. Snarls with rage:
MURTAUGH
Bastards ... Untie me and I'll
kill every one of you.
GENERAL
Precisely why we would never
think of untying you.
Larch shoves Rianne into the corner. She lands in a heap.
Murtaugh is sweating buckets. Eyes desperate. The
General leans in close:
GENEPAL
If you know something, son, you
better play ball, 'cause the stakes
just went up ...
141 INT. BASEMENT - SAME TIME 141
Kendo switches on the battery again. In the tub, Riggs'
head lolls back and forth. Listless. Dead. His eyes
refuse to focus. Kendo shows him the sponge.
RIGGS
(slurred)
No ... Please ...
KENDO
You die now, Sergeant Riggs.
Very slow.
Riggs does not respond. Stares into space. Kendo leans
over the tub, reaches in -- And that's when we find out
Riggs has been faking. His eyes focus. No longer hazed.
He snaps his hand forward to the end of the chain. Grabs
Kendo by the hair. In the blink of an eye, he slams the
man's head down against the porcelain tub. Kendo's nose
shatters. The Oriental topples over into the tub. The
battery drops to the floor. Riggs is a fucking machine:
he flips the chain around Kendo's neck and wrenches.
Hard. He goes limp. Riggs is not through yet. He
begins to heave and thrash, thrusting against the chains
-- Maneuvering the corpse on top of him. Shifting it.
Moving Kendo's pants pocket within reach. He reaches in.
Slowly, carefully, brings out a shiny silver key ...
142 INT. DINGY BACK ROOM -- SAME TIME 142
A length of rope is pulled taut. RIANNE's bound hands
are stretched over her head. Larch hooks the rope around
a peg set into the wall. She is helpless. Murtaugh is
out of his mind. Struggling to break free.
GENERAL
Good Lord. Very wholesome-
looking girl. Yessirreee.
MURTAUGH
Goddammit, I've told you
everything!!!!
GENERAL
We'll soon know, won't we?
Larch approaches Rianne. She squirms.
MURTAUGH
(beat)
You touch her, you're dead.
GENERAL
Oh, son, spare me.
(beat)
It's over, Sergeant. No heroes
around to save you ...
He picks up a baseball bat. Tosses it to Larch.
GENERAL
Mr. Larch... She's yours.
Rianne screams. Murtaugh shouts. Strains. The chair
thumps up and down, creating an insane, staccato rhythm.
The General laughs. Rianne shrieks. Harrowing. Terri-
ble. A scene out of Hell. And then the Devil comes in
and kicks the door off its hinges. Okay. Okay. Let's
stop for a moment. First off, to describe fully the
mayhem which Riggs now creates would not do it justice.
Here, however, are a few pointers: He is not flashy.
He is not Chuck Norris. Rather, he is like a sledge-
hammer hitting an egg. He does not knock people down.
He does not injure them.
He simply kills them. The whole room. Everyone stand-
ing. Except for -- the General, who ducks out a side
door and escapes ... Riggs' chain moves like a live thing.
Snapping here. Striking there. Mercs try to draw their
guns -- And suddenly their hands are shattered wrecks.
One merc draws a bead on Rianne, almost gets off a shot,
because Riggs is across the room. Without missing a beat
-- Riggs throws the chain. It wraps the guy's neck and
kills him instantly. Ouch ... He goes down, FIRING use-
less ROUNDS into the ceiling. Plaster rains. Riggs
spins, dives. Scoops up the baseball bat. Comes up
beside an armed merc -- Swings the bat with hurricane
force. A sickening impact. The bat breaks in half.
Riggs spins, combat-ready. Scans the room. No one left
to kill. Using only the element of surprise, he has
taken out an entire room in hand-to-hand combat. He
steps in front of Murtaugh without missing a beat. Cuts
him loose with a borrowed knife.
RIGGS
Work your circulation.
Crosses to Rianne, cuts her free. She collapses sobbing
into his arms.
RIGGS
Ssshhh- No time. Come on.
He scoops up handguns, throws them to Murtaugh. Takes
for himself a pump shotgun, possibly the same one used
against him earlier. Murtaugh stares dumbfounded at the
body count.
RIGGS
They're all dead. Let's get
out of here.
143 EXT. HALLWAY - SAME TIME 143
The three of them.
On the run, moving hard and fast. They scramble down the
hallway, Riggs in the lead, as -- a merc ducks around the
corner, sees them. Ducks back. Riggs FIRES through the
wall, BLAM -- ! A corpse falls into view. They keep
moving. Downstairs. A-round another corner. Moving,
moving.
The three of them keep moving. Rushing headlong toward
a sign marked EXIT. They may actually make it ... Or not.
For at that moment, Mr. Joshua looms up behind them and
tosses something in their direction. Ducks back out of
sight. It's a live grenade. The grenade hits the floor.
Clatters. Riggs stops instantly. He knows the sound.
Spins. Dives. Scoops up the GRENDADE and chucks it with
all his might. It bounces downstairs and EXPLODES at the
foot of the steps.
144 EXT. BUILDING - NIGHT 144
Joshua skids to a halt next to a sedan.
He slams the door and ROARS off down Hollywood Boulevard.
The crowd parts like the Red Sea. People are screaming.
And suddenly, the doors burst open -- As Riggs, Murtaugh
and Rianne come skidding out onto the sidewalk in hot
pursuit. Murtaugh shoves his daughter back as Joshua
FIRES out the window of the car. BULLETS lash the pave-
ment. The crowd shrieks. The CAR SCREECHES away.
145 ANOTHER ANGLE 145
A beat cop comes running up, and Murtaugh shoves Rianne
in his direction. Flashes his badge.
MURTAUGH
Get her out of here.
146 ANOTHER ANGLE - MURTAUGH AND RIGGS 146
go running after the car. Side by side. Beaten. Bloody.
Naked from the waist up. Murtaugh FIRING his PISTOL. Shot
after blazing shot.
Riggs unloading with the M-16 on three-shot mode, the
muzzle flash blinding, the noise DEAFENING -- Until
pedestrians swarm suddenly into the line of fire.
Blocking them. Except Murtaugh won't give up. He runs
after the car, shouting:
MURTAUGH
Out of the way. Move.
His GUN CLICKS empty. He tosses it aside. Pulls another
from his waistband. The car. Far away. FIRES FOUR more
SHOTS. Collapses in the street. Nearly' unconscious.
Crawls forward after the car, blood streaming from his
broken nose ... Going on sheer guts. Finally gives out.
Slumps in a heap. Riggs kneels beside him as a police CAR
ROARS up to them, flashers spinning. Riggs is a man pos-
sessed. We PANA-GLIDE with him as he runs forward. M-16
in one hand. Badge in the other.
RIGGS
Get an ambulance!!
He takes off after the Joshua's car. On foot. Someone
better tell this guy to lighten up. The car is far ahead,
racing onto a freeway on-ramp. Riggs runs. Sweat pours
off him. Seeing the car on the ramp, he changes direction.
Starts running an intercept course. Leaps out into the
street -- Spins, as a TRUCK BLARES out of nowhere, BRAKES
SQUEALING, HORN SHRIEKING. Somersaults over the hood.
Lands. Keeps moving. Barrels across the street. Faster
now. Even faster than before. Feet pounding. Gun
swinging. Dashing out onto the freeway overpass. Where,
without stopping, he promptly jumps the guardrail. Drops
through space ... And lands, thump -- ! Atop the big
green freeway sign. Swings like an acrobat. Dangles
from the sign, twenty feet above the ground. Levels the
M-16 one-handed, switches it to full auto. Waits ...
147 BENEATH HIM 147
Joshua's CAR comes SCREAMING through the underpass, doing
eighty. Riggs unleashes the GUN. It BLAZES with cruel
FIRE. STPAFES the back of the car. Sure enough, BLOWS
out both TIRES -- Throwing the VEHICLE into a deadly SKID
-- Slewing across the freeway -- STRIKING the GUARDRAIL
at sixty-plus. It slides for a full hundred yards, send-
ing up a shower of sparks. The back tires disintegrate
in a trail of burning rubber. The CAR GRINDS to a halt.
The door opens and Joshua rolls out. Riggs FIRES. Kicks
up a cloud of cement near the merc. Joshua RETURNS FIRE.
148 ANOTHER ANGLE 148
Big chunks of the.freeway SIGN BLOW OUT next to Riggs'
.head. He is showered with wooden debris.
Riggs lowers the gun. Lets go and drops twenty feet to
the pavement. Lands, rolls, comes up. A CAR swerves
around him. CRASHES into the guardrail. Riggs doesn't
even look. Instead, he begins to walk. He is a fucking
juggernaut.
149 UP AHEAD 149
Joshua turns, sees Riggs -- and stops.
JOSHUA
Okay, you bastard, let's see
who's better.
They are separated by perhaps two hundred yards. Joshua
snaps his rifle to his shoulder. Eyes glued to the scope.
Riggs swings his own rifle into position -- and we've got
the showdown at the O.K. Corral. A battle of wits. Each
one scanning through the scope.
Looking for a clear shot, as CARS SWERVE around and
between them. The crosshairs sweep the freeway. Perfect
concentration. Riggs. Joshua. Two soldiers. And
suddenly, the shot is there: Joshua sights in on Riggs'
position. Only problem is, Riggs' rifle is pointed right
at the CAMERA. He is sighted in on Joshua. Simultaneous.
They FIRE at the exact same moment. TWO SHOTS. Two
distinct RIFLE CRACKS. Riggs takes it in the shoulder.
Blown backward. Joshua goes down, winged. Riggs.
Joshua. Each looks like shit. They struggle to their
feet ... And that's when a car backs up into Riggs at
thirty miles an hour. Broadsides him. Sends him flying.
150 UP AHEAD 150
Joshua rushes up to a stalled car. Throws open the door.
Yanks out the driver, hops behind the wheel. ROARS away.
CUT TO:
151 EXT. BUILDING - SAME TIME 151
An ambulance shudders to a halt and two ORDERLIES hop
out. Uniformed COPS are struggling to hold back the
crowd. One of the Orderlies rushes up.
ORDERLY
Where is he, Officer?
COP
Right over there.
He points -- and suddenly frowns: There is no one there.
Murtaugh is gone. Nowhere to be seen.
CUT TO:
152 EXT. BACK ALLEY - SAME TIME 152
A sleek black VAN careens around the corner.
152A INT. VAN 152A
A MERC is driving, foot glued to the pedal. THE GENERAL
sits sweating in the back seat.
152B ANOTHER ANGLE 152B
The headlights flash wildly as the car roars down the
alley.
The General stares ahead, and suddenly ------- ...
'Cause wouldn't you know it, there's ROGER MURTAUGH.
Fifty yards away. Standing in the middle of the street.
153 ANOTHER ANGLE 153
There is no reason for Murtaugh to be standing. He is a
walking testament to man's ability to bloody himself.
And he's pissed... The Merc sees him, snarls -- punches
the gas. Murtaugh holds his ground. He can barely stand.
And then he does a peculiar thing: He examines his hand.
No question. A definite tremble. Scowls. Stretches.
Cracks his neck.
Shifts from foot to foot, steadying himself. He has one
shot. The numbers are falling, it's all coming down --
And he's ready. The van comes barreling in. Doing fifty.
Now or never...
MURTAUGH
No way you live. No way.
He cross-draws with lightning swiftness. BAM. The
REPORT is DEAFENING. The WINDSHIELD promptly SHATTERS.
And the Merc sprouts a neat third eye. Perfect shot.
Dead center. The van swerves. Murtaugh steps out of the
way. Deadly calm. As the van careens past -- He salutes
the General. Watches, expressionless ... The CAR SLAMS
into a telephone pole and rolls over. GRINDING METAL.
An ERUPTION of GLASS. It continues to roll like some
great beast, crumpling and folding like an accordion...
Comes to rest, upside down in a sea of glass ...
153A INT. VAN 153A
The General is pinned beneath a crumpled door-frame,
struggling to break free, as FLAMES lick upward from the
ruptured gas tank...
And then the General sees something which ruins his whole
day.
The Merc's corpse, sprawled over the steering column... *
with a shiny metal GRENADE attached to his belt. *
Flames dance around the grenade. *
153C ANOTHER ANGLE 153C *
The General squirms, strains, yanks for all he's worth... *
Fingers reaching out for the grenade........................... *
Flames burning his outstretched hand........................... *
And it is, as they say, all she wrote. *
154 EXT. ROADWAY 154
Murtaugh is walking like a zombie. Away from the VAN.
Gun held loosely at his side. Suddenly -- It BLOWS sky
high. A tower of fire. Blows Murtaugh flat. Knocks
him ass over teacups. ECHOES down the street. Turns
night into day for one brief instant. And then -- Then
something truly incredible happens. For the first time
in nearly a century -- it begins to snow in Hollywood.
Murtaugh looks up, a "What the hell ... ?" expression on
his face. Sure enough --
155 HEROIN 155
is sifting down on the night air, ten million dollars'
worth... A cloud over the entire' street. Swirling in
the breeze.
156 MURTAUGH 156
gets slowly to his feet, checking for broken bones. If
it wasn't busted already, apparently it's okay now. Time
passes. A hand rests on his shoulder.
157 MARTIN RIGGS 157
Stands next to him. Cops swarm behind them. The heroin
snow continues to fall. The wreck burns. Riggs looks at
Murtaugh. Murtaugh looks at Riggs. The two most physi-
cally abused men in film history.
MURTAUGH
Well, shit.
RIGGS
Try not to breathe, you'll see
pink elephants.
MURTAUGH
Joshua?
RIGGS
Got away.
MURTAUGH
We ... gotta find him.
RIGGS
No dice. First thing we gotta do
is get you to a hospital.
MURTAUGH
Uh-huh First thing we gotta do
is check on my house.
(beat)
I got a bad feeling...
He moves away. Riggs starts to follow. Goes to toss his
cigarette in the gutter, and stops: There is a tiny, red
mark at the tip of the filter: It is the cigarette. The
very last one ... He stares at it, a sudden glimmer in his
eye.
CUT TO:
158 EXT. MURTAUGH HOME - NIGHT 158
The Christmas lights shed a happy glow. The lawn is
still littered with toys. Two uniformed COPS are watch-
ing over the house, sitting in a police car across the
street. One of them munches on a sandwich. The other
is doing a crossword puzzle. A car pulls up next to
them. The door opens -- out steps Mr. Joshua.
POLICE OFFICER
Excuse me, sir, may I see some
ID?
Joshua takes an UZI from beneath his coat. No hesi-
tation. BLOWS them apart. Walks forward, gun smoking.
Crosses the lawn to the front door. Kicks it to
splinters.
159 EXT. CITY STREET - SAME TIME 159
A police CAR PEELS around the corner. Takes out a
Salvation Army BUCKET, which POPS like a clay duck.
Coins shower every which way.
160 INT. CAR 160
Murtaugh is driving like a lunatic. Beside him, Riggs
holds a handkerchief to his gunshot wound.
161 INT. MURTAUGH HOME'- SAME TIME 161
Joshua stalks down the hallway of Murtaugh's house.
Stops in front of the bedroom door. Holy Jesus ... He
kicks it open. SPPAYS the interior with GUNFIRE. Shreds
the mattress, dices the pillows. Trashes everything in
sight: Star Wars posters. Stuffed animals. Stereo.
Empties an entire clip of .9 millimeter slugs. Except
the bed is empty. There is no one there. Joshua snarls.
Turns.
162 SERIES OF SHOTS 162
Kicks open another door. TRIGGERS DESTRUCTION. Plaster
and wood fill the air in a cloud. Room to room. Search-
ing. Growing more and more enraged -- because there is
no one here to kill. He is blowing the shit out of an
empty Santa Monica bungalow. He bursts into the only
room he hasn't visited. Living room. It too, is empty.
There is a note, however. Taped to the Christmas tree:
Big letters.
DEAR BADGUYS
NO ONE HERE BUT US COPS.
SORRY.
-- THE GOODGUYS
Joshua swears. Runs for the door. And a police CAR
drives through the front of the house. PLOWS into the
living room, shearing boards in half, BURSTING WINDOWS,
GRINDING to a hal-. in a sea of glass. Joshua spins,
triggering the UZI.- STRAFES the car. A withering FIRE.
Empties an entire clip at the front WINDSHIELD, dicing
it to SMITHEREENS. Waves the gun like a WAND, STRAFING
X patterns, FIRING all the while, completely EXTINGUISH-
ING the car and all life within. Stops. Silence.
Floating debris. Joshua lowers the gun. Breathing hard.
Crosses the room, his boots crunching through broken
glass. Yanks on the driver's door. It falls loose with
a metal clang.
163 ANOTHER ANGLE 163
A cop's nightstick has been jammed against the accel-
erator pedal. The car is empty.
Joshua spins, startled
Stares across the room
At MARTIN RIGGS, who sits calmly on the windowsill.
RIGGS
Ho, ho, ho.
He raises his gun and fires without blinking.
Blows the gun out of Joshua's hands.
Smiles a big shit-eating grin.
Joshua turns and dives through the hole in the wall
Lands outside, comes up running, but sorry, no dice
because there stands Roger Murtaugh. Drawing a bead on
Joshua's running figure.
MURTAUGH
Freeze, Joshua.
Joshua stops dead. Turns, growling low in his throat.
A fire hydrant, sheared off by the runaway car, sprays
water high into the nighttime air. The wind blows.
Martin Riggs steps out of the house. Pointing the .38
Special like a finger of doom. Strolls toward Mr.
Joshua... the gun is rock steady. Riggs' eyes meet
Murtaugh's, and he speaks with deadly purpose:
RIGGS
I'll handle it.
He steps up to Joshua. Smiles. And then he does some-
thing very strange: he relaxes his grip on the gun --
And throws it away. Faces Joshua. Raises his arms, and
carefully places them behind his head. When he speaks,
his voice drips menace:
RIGGS
Come on, ace.
(beat)
Try me.
A moment. Then Joshua calmly plants himself in front of
Riggs. Around them, water showers down in a gentle cloud.
SIRENS APPROACH in the near distance. Joshua and Riggs.
Two soldiers. Their eyes lock. And you better hang onto
your popcorn, boys and girls, because it's about to get
ugly.
JOSHUA
Don't mind if I do.
And so it begins. They start to circle.
Riggs and Joshua, perfect concentration, round and round
and never, never once does their focus break, because,
baby, these guys are pros -- And here's something funny:
they aren't looking at each other's eyes at all. Rather
-- They're watching each other's hands.
164 RIGGS 164
His fingers twitch. Flex. Wrist making slow, laborious-
circles.
165 JOSHUA 165
Shifting from leg to leg, floating his balance.
166 MURTAUGH 166
looks on, sweating it out. He's not happy, he wants to
end it ... And yet he waits.
167 RIGGS AND JOSHUA 167
All we see is their eyes, straining, focusing, scanning
for an opening.
JOSHUA
Concentrate, Martin... Don't give
me an opening... Wouldn't want to
do that ...
Riggs shifts. Blinks. And:
168 JOSHUA 168
springs ... Foot coming out like a shot, Riggs jerking
back, inches -- meanwhile, Riggs -- countermove, spins,
tries a back kick, no dice ... Joshua no longer there,
where is he ... ? Shit -- ! Comes up, darts a punch to
Doesn't L=
-----------------------------
(CONTINUED)
Riggs' neck -- Riggs fields it, snap
the lep-. It comes ou@t of nowhere.
-------------------------------
CRACK! The sound of Riggs' rib breaking carries clearly.
He grunts. Thrusts, inviting a countermove ... Joshua
counters -- And Riggs snags his hand, picture-fucking-
perfect. Breaks one of Joshua's fingers. Ouch. Backs
off. Joshua backs off. The two of them. Wounded, they
circle. Round two ...
169 MURTAUGH 169
Meanwhile, is raising his gun, pointing it at Joshua.
Riggs' voice cuts like a knife:
RIGGS
No. Roger.
(beat)
No way.
Murtaugh lowers the gun. Stares, fascinated, at this
contest between two consummate professionals. In for the
kill. It is a dance of the forces. Riggs is on fire.
Leaps, avoiding a shot to the knee, spins, slams the
knuckles of his hand into Joshua's nose. Busts it.
Joshua snarls, drops -- Catches Riggs' arm over one
shoulder. And, ladies and gentlemen... Riggs has just
fucked up. CRACK -- ! His arm breaks. He screams with
pain. Screams with anger. Tosses three shots at Joshua.
SNAP. SNAP. SNAP. RIBS, SPLINTERING. Joshua hissing
with pain. Lets go. Back off (Riggs). Back off (Joshua).
In pain, they circle. Round three ...
JOSHUA
That's it, Martin... your body
wants to go into shock... but you
won't let it, will you ... ?
RIGGS
... Give it up ... Your breathing's
shot ...
JOSHUA
so's your left arm...
RIGGS
Life's tough that way ... Oh, by
the way: Fuck you.
He launches himself at Joshua. Joshua strikes, scores a
minor point, breaking Riggs' collarbone, except Riggs
doesn't care, nosirree Bob... 'Cause he just hit paydirt:
Joshua's knee. Boot-strikes, BAM -- ! Shearing the
knee, maybe bursting the cap ... Joshua shrieks, but then
again, so would you. And he promptly jack-knives his
fist right into Riggs' broken arm. Three times. Riggs
bellows. Refuses to quit.
Slams his head into Joshua's busted nose. Pop ...
Does it again. Joshua, hammering the broken arm. Pow.
(Scream) Pow. (Scream) ... Until, son of a bitch... The
pain is simply too intense... nothing human can withstand
it, they fall away, staggering, wrenching to a shaky halt,
facing one another, standoff ... Exhausted, limping, hardly
able to speak...
170 POLICE CARS 170
Pulling up now, cops stumbling out, guns clearing their
holsters as Murtaugh waves frantically, screams:
MURTAUGH
No guns. Let it go! Goddammit,
let it go!!
171 RIGGS 171
spits, gazes straight at Joshua. Joshua stares back.
Two soldiers. This close to collapsing. Until, breaking
the silence -- comes Murtaugh's voice:
MURTAUGH
Martin.
RIGGS
Yeah.
MURTAUGH
-----------
the motherfucker.
A moment ... and then, my friends, Riggs does a peculiar
thing: He smiles then. Damned if he doesn't. And rises
up ... Standing. Standing straight. There is no way he
should be able to do this. And then he speaks, and it's
like the voice of doom, and all of a sudden we know that
this guy is a fucking legend, we know why the V.C. en-
forcers whispered his name at night in the foxholes ...
He is Riggs. And no one can touch him. No one.
RIGGS
Last chance. Walk away.
JOSHUA
Fuck yourself.
RIGGS
Fine. Die.
He steps forward. Stands. Joshua springs -- thunders
his foot into Riggs' hip, separating the bone at the
joint ... And Riggs doesn't blink. His hand comes out.
Lightning quick.
There is a sick-sounding CRACK -- And Joshua is dead
before he hits the ground. Riggs hovers over the
corpse... breathing spastic, saliva dripping from his
lips... takes a handkerchief, wipes his hand, and says:
RIGGS
You lose.
At which point, he collapses like a sack of grain.
172 MURTAUGH 172
is running forward, tears in his eyes by this time, falls
to his knees, cradling Riggs in his arms, while the
assembled cops look on in thoroughly stunned silence,
what they have just seen is beyond their wildest
imagining ...
173 ON GROUND 173
Riggs looks at Murtaugh. Murtaugh looks at Riggs.
MURTAUGH
Take it easy, Martin...
RIGGS
... Right. Easy. You bet ...
MURTAUGH
Does it hurt ... ?
Riggs throws him a look.
RIGGS
What are you, an idiot?
MURTAUGH
Sorry.
RIGGS
S'all right.
(beat)
I got good news and bad news.
MURTAUGH
What's the good news?
RIGGS
... Good news is, I'm not dead...
MURTAUGH
What's the bad news?
Riggs grimaces in pain-
RIGGS
... Bad news is, I'm still alive ...
He chuckles. Groans. Passes out. The water RAINS
steadily down. The night wears on...
CUT TO:
174 EXT. LONG BEACH BAR - DAY 174
Christmas carolers sing outside at roadside. A big
banner screams MERRY CHRISTMAS to passing cars. Christ-
mas lights. Tinsel. Murtaugh and Riggs stand on the
sidewalk, huddled against the chill. Riggs stands,
braced on one crutch. Arm in a sling. Their breath
plumes out in front of them.
MURTAUGH
So.
RIGGS
So.
MURTAUGH
There are worse things than a
psych pension.
RIGGS
(shrugs)
Probably.
MURTAUGH
Guess I won't be seeing you
around.
RIGGS
Guess not.
(beat)
The Department thinks I'm wild.
I don't belong anymore. Not
here.
MURTAUGH
Where do you belong?
RIGGS
Who knows ... ? Maybe I can get
a job on a remake of Cobra.
MURTAUGH
My son would come see you.
RIGGS
He'd be the only one.
MURTAUGH
(a pause;
then)
Riggs.
RIGGS
Yeah.
MURTAUGH
This ... is a bad old world,
isn't it?
RIGGS
(sighs)
Yeah. Sometimes it really is.
MURTAUGH
Hell.
(beat)
I'm thinking of quitting.
RIGGS
Don't you dare.
Murtaugh looks at him.
RIGGS
You're too old to change now,
Colchise.
MURTAUGH
Me? Old... ?
RIGGS
You just hang in there.
MURTAUGH
Yeah. You, too.
RIGGS
Guess I'll say goodbye.
MURTAUGH
Sure. Come over for dinner
sometime.
RIGGS
No, thanks.
MURTAUGH
Don't blame you. I'm thinking
of arresting my wife for cruelty
to bacon.
(beat)
Merry Christmas, Martin.
RIGGS
Merry Christmas.
He walks off down the street. Murtaugh watches him go.
Pause. Turns up his collar against the chill, takes a
few steps ... And a man steps in front of him. The same
Punk who Riggs beat the shit out of at the very beginning
of the film.
PUNK
Hey, old man, got any money?
Murtaugh stops. Stares. Blinks. And proceeds to kick
the shit out of him. A kick. A punch. The Punk lies
on the sidewalk, semi-conscious. Murtaugh scowls and
says:
MURTAUGH
I'm fifty. That's not old,
dickless.
175 EXT. CEMETERY - DUSK (SAME DAY) 175
RAIN pours down. Martin Riggs stands over a lone grave.
There are dark hollows under his eyes. The wind tugs at
his hair. The tombstone reads:
VICTORIA LYNN RIGGS
BORN: 1953
DIED: 1984
He reaches beneath his overcoat and removes a bright
green Christmas wreath, which he places atop the grave.
Kisses his fingertips. Presses them to the moist earth.
RIGGS
Merry Christmas.
(beat)
I love you.
The rains starts to fall. Riggs is oblivious.
176 EXT. MURTAUGH HOME - NIGHT 176
Carpenters are at work, patching and repairing. The
Christmas lights still shine defiantly. A car pulls up.
CUT TO:
177 FRONT DOOR 177
As a hand knocks softly: The door opens -- and there
stands young Rianne. Adorable. She looks up at the
visitor... It is Martin Riggs.
RIANNE
Hi.
RIGGS
Hi.
He hands something to her. She takes it. The bottle of
pills. It has a red ribbon tied around it.
RIGGS
Give that to your dad. It's a
present. Tell him I won't be
needing them anymore.
Rianne nods.
RIANNE
Okay. You wanna come in? We're
building.
Riggs thinks it over. Shakes his head:
RIGGS
No, that's okay.
(beat)
You have a Merry Christmas,
Missy.
RIANNE
Okay.
Riggs turns to go. Rianne stops him:
RIANNE
They say you're the best.
Beat. He stops. Turns and looks at her.
RIANNE
Are you?
RIGGS
(big smile; wild wink)
No one can touch me.
Rianne blushes.
Riggs begins to walk away, into the rain...
Until Roger Murtaugh appears from inside the boat on the
trailer hitch.
He stands on deck and looks down at Riggs.
Riggs stops. They stand there in the rain for a moment.
Then Murtaugh looks him square in the eye and says:
MURTAUGH
Sucker, if you think I'm gonna cat
the world's lousiest Christmas
turkey all by my lonesome, you're
nuts.
Riggs nods. A moment passes. Then:
RIGGS
I think your daughter kinda likes
me.
MURTAUGH
You touch her, I'll kill you.
RIGGS
You'll try.
He smiles.
Murtaugh smiles.
The rain falls, as they enter the house together, and
we
FADE OUT.