by Shane Black
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,
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
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
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
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
On the balcony railing beside her stand three potted
The Girl sees them, picks one up. Looks over the balcony
railing ... It is ten stories down to the parking lot.
she squints, holds the plant over the edge.
Drops the plant. Down it goes, spiralling end over end
-- until, finally ... BAM -- ! SHATTERS. Dirt flies. A
red Chevy is now minus a WINDSHIELD. The Girl takes
She drops it. Green Dodge. Ten stories below, BAM
Impact city. Scratch one paint job. Grabs the final
plant and holds it out, saying:
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 --
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.
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:
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.
Happy holidays. Mind if I join
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.
I need help drinking this. Cool?
The dock workers exchange glances. There seems to be no
harm in this. One of them frowns:
You a homo?
Do I look like a homo?
You got long hair. Homos got long
I hate homos. Arrggh.
Riggs shakes his head, laughs.
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.
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.
Huh- You know what? He says he
doesn't want you to spray beer in
his face. He says he just hates
A pause. Uncomfortable. Then --
Oh, he does ... ?
Well, mister, why don't you ask
him what he likes...?
The others snicker. Riggs simply nods.
And once again, begins to confer with the dog. Listens
intently, piecing together what he is hearing.
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
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:
What's that ... ? The one ... in the
middle... 'is a stupid fat duck'...
What ... ?
Oh ... Oh! A 'stupid fat fuck!'
He looks up, shakes his head.
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.
Buddy, you're shortening your
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.
(to the collie)
What's that ... ? You want me to
take the knife away... and break
his elbow... ?
Riggs, watching them, his eyes beginning to dance ...
Breathing slow and even...
But that would be excruciatingly
Something inside Riggs is gearing up ... the others can
perhaps sense it, their smiles falter a bit, they crouch,
Riggs, eyes blazing ...
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...
Needless to say, mincemeat is made of the four meddlesome
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.
Okay, skeezix. Go on. Get outta
He begins to walk away. The dog remains close at his
heels. Following him.
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.
He signals the dog.
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.
So. You live in the area? What's
your major ... ?
And so on as we ...
2 OMITTED 2
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.
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.
Make a wish, Daddy.
Go for it, Dad.
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.
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
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.
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 ...
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:
Honey, what's this on my tie?
An ugly spot?
Thanks. Sharp as a pin.
I'm thinking of going on 'Jeopardy.'
Don't take any questions on cooking.
Thanks. I love you, too.
Carrie is still shrieking. Tears stream down her face.
Hey, kid, turn off the waterworks,
(points to Nick)
Daddy, he changed the channel!
She's a crybaby, Dad.
Mind your own busines.
(nods toward the TV)
Can't put a dead body in an
ambulance. This 'Kojak'?
'Starsky and Hutch.'
Huh. It's illegal. Never put a
dead body in an ambulance, son,
you got that?
Honey, where's the spot remover?
(turns to Carrie)
Young lady, stop crying or I'll
give you something to cry about.
He dabs at his tie. Carrie screams. In the kitchen
Trish drops the eggs, swears. The PHONE RINGS. Carrie
That's it. I'm gonna give you
something to cry about.
He grabs a copy of Newsweek and hands it to her.
Starving children. See? They
haven't eaten, it's very sad.
He moves away.
Daddy, you're weird ...
Thank you, Carrie. Hear that,
honey, the children think I'm
They're bright children.
(hangs up the
Honey, you know a man named Dick
Lloyd? Don't step in the egg.
Where's my thinking? I should've
checked the floor for egg. Dick
Lloyd ... ?
Jesus, Dick Lloyd. What's he want?
The office called. He's been
trying to reach you for three days
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.
You're not getting older, you're
Inform the children of this.
(kisses her; heads
for the door)
Forget the eggs, I'll eat later.
(as he stops)
How come I never heard of Dick
I never talked about him.
Yeah. Vietnam buddy.
He exits the kitchen, crosses the entrance hall. Stops,
noticing Rickles the cat, who is happily munching on the
remains of Roger's birthday cake.
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.
(shakes his head)
Goddamn heartbreaker. She's a
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.
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
Happy birthday to me ...
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:
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
Riggs hits the gas pedal and PEELS OUT.
16 EXT. CENTURY CITY PARKING LOT - MORNING 16
The sky threatens rain. Cars buzz by as the city
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.
Can I stay in the car?
Aw, cut me a break. I told you
already: she came out on the
That balcony ... ?
-- 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?
Not 'til you talk to the Sarge.
Terrific. Where the hell is he?
17 INT. MURTAUGH'S CAR 17
The sarge drives up and gets out. A BEAT COP Toes by.
Happy 50th, Rog.
He crosses to the two Cops and Dixie.
'Morning, Phil. Get some rain,
Hey, Dixie. Nice threads.
Hey, Murtaugh. Tell these bozos
to lay Off.
You. Bozos. Lay off.
Had a jumper last night, Sarge.
Dixie here was walking by, saw
the whole thing.
You got a statement? Send her
Thanks, Rog. I'm beat, you know
how it is.
(points to her
All dressed up and no one to blow.
She exits. Cop #2 escorts Murtaugh across the parking
Nice wholesome girl. She got a
new job, you know.
County ceiling inspector.
So. Fifty years old, huh?
They stop next to the Porsche. Murtaugh grimaces.
Name is Amanda Lloyd, age twenty-
two, prostitute, one arrest, no
convictions. Born Tennessee,
What was the name?
Lloyd. Amanda Lloyd. You know
her ... ?
Murtaugh looks stunned. He speaks very slowly:
I knew her dad.
(an awkward pause)
Vehicle is registered to her. She
landed right on top of her own car.
Find out who bought it for her.
Her sugar daddy.
Take some looking into.
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
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.
DRUG DEALER ONE
You better fuckin' believe it.
Okay. Let's do it. How much?
DRUG DEALER TWO
How much for how much?
For all of it.
DRUG DEALER THREE
You want it all?
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
Riggs lets out a soft whistle at the amount.
That much, huh?
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.
Twenty, forty, sixty --
The Drug Dealers exchange dumbfounded expressions.
DRUG DEALER ONE
Hey, man. Hey!
Wait, wait ... shutup. I'm
losin count. Where was I? Oh,
peel off the
... Eight, ninety, ninety-five,
(digs into his
... Ninety-seven-fifty. Sixty.
Seventy-five. Okay, there's
ninety-eight dollars and twenty
He is about to check his other pocket for change when
Drug Dealer One stops him.
DRUG DEALER ONE
Forget it, dumbshit.
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.
Oh, Jesus ... I can't afford that.
Not on my salary.
Look... let's do this instead ...
(pulls out his
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
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
Riggs' eyes begin to blaze. His nostrils flare. Like
a maniac, he lunges at Drug Dealer Two.
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.
That's a real badge. I'm a real
cop. And this is a real gun.
(to the other two
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
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.
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
Shoot him! Shoot him!
(to Drug Dealer)
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.
(to Drug Dealer)
Do it, asshole. Pull the trigger.
Pull the trigger.
Shut the fuck up!
They move closer to the van. The narcotics officers
have their guns poised for action, but don't dare use
Guns down! Guns down!
Shoot him! Kill him!
Pull the trigger!
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
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
HOLD ON Riggs. VERY CLOSE. And the look in his eyes.
20 OMITTED 20
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.
I want Martin Riggs pulled from
No. No??? Captain, he walked
into the line of fire.
Very brave individual, don't
you think... ?
This is utter bullshit.
Oh, is it? Forgive me.
Martin Riggs is a cop with a
Murphy shoots her an incredulous look.
You can quote me. It happens to
be my professional opinion.
Um... good opinion. See you
Look, Doc, you're way off. Way
off. Know what I think? I think
Riggs is pulling for a psycho
Oh, do you?
Yeah. I am sure you're aware the
department offers a disability
stress pension --
Yes, I'm aware --
-- Except we don't offer it to
everybody, only cops who seem to
-- From abnormal stress, yes, I
know. Or suicidal tendencies.
Give the lady a cigar.
You think Riggs is playing a game?
Sure. He wants the cash. Seen
it a hundred times. He'll come
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,
I know all about Riggs, Doc. He's
a tough bastard.
He is on the edge. He may be
Bunch of psych bullshit- Look,
can I pee now?
I think you're making a mistake
by leaving him in the field.
End of discussion. We're gonna
wait. And then, if he offs
himself ... Well, then we'll know
I was wrong.
Yes, sir. Then we'll know.
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.
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.
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
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.
I think I'm an Eighties man.
How you figure?
Last night: I cried in bed, so
Were you with a woman?
No, I was alone, why the fuck you
think I was crying?
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:
Got some news on the Lloyd case,
That was quick.
So was the autopsy.
(takes a deep
You ready for this? They're not
calling it suicide.
Surprise, surprise. First off,
coroner found evidence she took
Brilliant. There was an open
bottle on her table.
Right, right. That's not the
surprise. Surprise is someone
doctored the pills.
Every capsule was loaded with
If she hadn't jumped, she woulda
been dead inside fifteen minutes.
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
33 ACROSS ROOM 33
Murtaugh slings on a jacket. Turns to go. Notices
34 MURTAUGH'S POV 34
Riggs resembles a bag person. Unshaven, limp dirty
hair, grimy leather jacket.
35 BACK TO SCENE 35
He frowns, says:
McCaskey, if my wife calls, tell
her late dinner.
Ho, Rog- I'm not through yet.
I'm supposed to tell you two more
He is still looking at Riggs, who is slowly wandering
from desk to desk, smoking -- Stopping near the desk with
the holstered gun.
First, condition of the sheets and
mattress indicate someone was in
bed with Amanda Lloyd just before
she died. That's A.
B is, I'm supposed to tell you
you're breaking in a new partner
Now Murtaugh is eyeballing Riggs. Cautious.
I don't work partners.
You do now. C.I.T. transfer, some
burnout they want you to keep on
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
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:
What the shit is going on?
Burke sighs, shakes his head:
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:
There are three guns on you.
Easy. Take it easy.
I'm going to light a match.
He does. Holds it near his face.
Thank you, Mr. Mendez.
The lights come on. Dazzling. Mendez covers his eyes.
Three men. Seated in chairs. Shirt sleeves and shoulder
holsters. The LEADER speaks.
If you'll follow me, please.
Who the hell are you?
That's hardly important. If you
like, you may call me Mr. Joshua.
They move toward a door in the rear wall.
I trust you're having a pleasant
(looks at him)
Yeah. It's a fucking joy, thank
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.
Yes, Joshua... ? Ah, Mr. Mendez.
Please, have a seat.
Joshua stands off to one side. Mendez sits.
(under his breath)
Where'd you get him? Psychos 'R.'
Points to another merc.
I like the sunglasses. Very
Mr. Larch is unfortunately missing
an eye. For anonymity's sake, he
chooses to forego wearing a patch.
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.
I don't find you funny.
I don't find this goddamn setup
You're using mercenaries, for
Chrissake. Tell me I'm wrong.
No. You're not wrong.
And I'm supposed to trust these
My people are loyal, Mr. Mendez.
They are loyal to me.
Joshua. Hold out your hand.
Joshua steps up to the General and extends his arm.
Do you smoke, Mr. Mendez?
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,
You wish to do business with us,
Mr. Joshua is in a great deal of
pain. You wish to make a purchase,
I ... yes. Sure. Jesus.
The General nods, hands the lighter back to Mendez.
Filthy habit, smoking.
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.
38 OMITTED 38
40 EXT. UNMARKED POLICE CAR - DAY 40
Riggs and Murtaugh cruise through downtown Los Angeles.
Riggs drives, while Murtaugh scowls. There is an awk-
So. They tell me you're a good
Heard about your little stunt
yesterday. Pretty heroic stuff.
(as Riggs does
File says you worked for the
Phoenix Project in Vietnam, that
And they gave you the
Congressional Medal of Honor.
It was a lean year.
It's over, you know.
Yes. I know.
Just thought I'd remind you.
Check out your piece?
works the slide, KA-CHIK
He reaches across the get Riggs' gun. At which point
Riggs' hand shoots out -- and stops him cold.
Bad manners, man.
Riggs removes the gun himself. Steers with his knees.
Drops the chambered bullet. Slips out the magazine,
Hands the gun to ------------
Don't hurt yourself.
Murtaugh hefts the weapon, turning it over in his hand:
Beretta .9 millimeter. Smooth, well-oiled.
Accurized. Murtaugh frowns.
.9 millimeter Beretta. That's
some serious shit.
Military switched from Colt to
Beretta in 1985. It's a better
piece. Wide ejection port, no
feed jams, no stovepipes.
What's it take?
Fifteen in the mag, one up the
pipe. You carry a wheelgun?
Lot of old-timers carry that.
Murtaugh shoots him a look. Replaces the gun.
File says you're registered with
Newark P.D. as a lethal weapon.
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.
I don't want to work with you.
Ain't got no choice. Damn.
We're both fucked.
As they speak, Riggs has pulled to a stop in front of a
large downtown bank building.
(rubs his eyes)
I'm very old ...
... God hates me, that's what
Hate him back. Works for me.
He lights a cigarette.
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
Murder ... But I thought ...
Poisoned. Even if she hadn't
jumped ... she'd still be dead.
Jesus, I can't take -------.
He sits, staring out the window. A broken man.
Dick, why did you call me
(very far away)
Called you...? Yeah. That's
right ... I heard you were working
out here ... I wanted you to find
her for me, Roger. Take her
Out of what?
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-...!
Lloyd turns, facing them. Intense:
I want a promise.
You owe me. You know you do.
Yes. I know that.
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.
I'm a police officer, Dick.
Forget the law. It's easy to do.
You owe me.
We have to go now.
Lloyd does not look up. Riggs and Murtaugh head for the
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.
You gonna smoke in the car?
Thinking about it.
He puts the top down.
Riggs takes out a cigarette, starts to put it in his
He replaces it in the pack, takes another. Murtaugh
looks at him.
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
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.
Brilliant. Get in the car.
Want me to drive?
You're suicidal, remember?
Anyone who drives in Los Angeles
They get in. Murtaugh heaves a sigh, stares bleakly out
the window. A moment, then Riggs says:
He said you owed him. What did
We served together in '65. He
saved my life in the La Drang
Valley. Took a bayonet in the
That was nice of him.
I thought so.
The RADIO SQUAWKS. Murtaugh TURNS it UP.
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.
Four King Sixty en route.
This is great. I love this job.
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.
Hey, Sarge, you wanna handle
Where's the psychologist?
Sitting in traffic.
Who's the guy?
Salesman name of MacCleary. Left
the office party. Went upstairs
and walked out on the ledge.
Think he'll go?
Seems serious enough. Who knows?
Riggs clears his throat. Murtaugh turns.
I can handle this.
You qualified to talk to jumpers?
I've done it before.
Okay. You're elected.
turns to go)
(as Riggs stops)
No guns. No kung fu. Just ...
bring him in.
Sure. Bring him in.
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.
My name is Riggs.
I can't do that.
What's your name?
Look, I know all the psychology
bullshit, it won't work.
I'm not a psychologist.
Yeah? What are you?
You're early. Hang on a couple
minutes, you can go to work.
At least tell me your name. Look,
I gotta fill out the little piece
of paper. Okay?
Len. Len MacCleary.
Thanks. 'Preciate it.
That M -- C ... ?
M -- A -- C, now get outta here.
Riggs leans out farther, perches on the ledge. Absolutely
Why are you doing this?
None of your goddamn business.
I'm coming out. Take it easy.
Riggs stands, steps out onto the narrow ledge. He seems
Don't come near me!
Ssshhh. Easy. I'm just going to
Touch me and I'll jump.
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.
You're not the first guy to think
of this, you know. Everyone's got
You know shit.
Wrong. You're wrong.
I almost tried this once.
Seriously. My wife. Got killed
in a car crash. Only person I
ever cared about. I never had
You're breaking my heart.
Riggs takes out his wallet, flashes it at MacCleary.
This is her picture.
Nice. Fuck off.
I'm trying to tell you I understand,
He takes a step closer.
Don't touch me. I'm not doing
I know that. Not like you're
Right. Only one hurt is me.
Same way I look at it. I'm gonna
stand beside you, okay?
Dammit, keep away.
Please. This is scary stuff.
Just ... let me stand next to you.
Don't try nothing.
I try something, we both go.
Riggs slowly steps up to the man. Shudders.
There. Fuckin' cold,up here.
Helluva day for both of us, huh?
(looks around at
the sea of traffic
Here we are.
God, this is really scary. I'm
You wanna smoke?
Let's smoke, okay?
Riggs offers a smoke. MacCleary reaches for it. And Riggs
snaps a handcuff on his wrist. Snaps the other end onto
his own wrist.
See this key?
He holds up the key to the cuffs. Flings it out into
We're together on this. You can
go if you want. But you take me
with you. Makes you a murderer.
You'll be killing a cop.
I'm going inside. What say you
come with me?
He turns, starts to ease along the ledge. MacCleary
swallows hard, says:
Fuck you, I'm jumping.
And suddenly Riggs turns on him. Eyes like steel.
You wanna jump ... ? You really
want to ... ?
Fine. Let's do it.
He steps to the edge.
Hey, what the fuck ...
You asked for it.
Hey, wait a minute ... !
Riggs does something very drastic. He jerks them both
off the ledge. Holy shit. The crowd gasps.
As down they plunge, all ten stories -- 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.
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.
Don't ... touch me.
Murtaugh will not back down.
What the fuck did you just do???
I controlled the jump. You wanted
him down. He's down.
He yanks Riggs around the corner, away from the other
Okay, turkey, no bullshit. Do you
want to kill yourself?
Aw, for Chrissake ...
Shut up. Just yes or no, do you
want to die? Huh? Yes or no?
I got the job done.
You're not answering the
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:
You want to die.
I'm not afraid of it.
Pills are too slow. Use a gun.
Use my gun. Go ahead, pal.
A pause. Riggs looks at the gun.
Be my guest.
He offers the gun to Riggs.
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
You shouldn't tempt me, Roger.
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.
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
The hainmer thuds against his thumb.
Murtaugh grabs the gun. Stares at Riggs, wild-eyed.
Jesus. You're not trying to draw
a psycho pension.
You're really crazy ...
So now you know.
Yeah. Now I know.
46 INT. POLICE LINEUP - DAY 46
The Police Psychologist we met earlier is talking on the
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
47 ROGER MURTAUGH 47
Standing at a pay phone, listening. He nods:
Terrific. So you're saying I
Are you kidding? The guy's a time
bomb. When he goes... stand back.
Thank you, Doctor. You've been
He hangs up. Rubs his eyes tiredly and says:
I'm too old for this shit.
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:
(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!
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.
I didn't know that.
That today was your birthday.
Happy Birthday, Roger. I mean
Murtaugh looks taken aback by the genuine sound of affec-
tion in Riggs' voice.
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.
Where we going?
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
Riggs raises his hands -- as if to say, I'll be on my
best behavior. Murtaugh swings the car onto Sunset
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.
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
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.
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
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.
I'm thinking probable cause.
Jesus. Maybe I should call for
What am I, chopped liver?
Murtaugh looks at him. Sighs.
He grins cheesily-
56 EXT. SOLARIUM 56
Riggs and Murtaugh approach the frosted glass door. They
draw their guns.
Nice and easy.
Nice and easy.
Murtaugh takes a deep breath. Kicks open the door.
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:
See how easy that was? Boom.
Still alive. Now we take the gun
... 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.
No fair, the building guy lived.
Whatever. The point is, no
Right. Piece of cake. I'm very
happy. Read the man his rights,
I'll be over here being happy.
Unfortunately ... as Murtaugh speaks, he does not see the
man on the ground has a hideaway gun tucked into his
waistband. As Murtaugh talks, oblivious ... The guy takes
out the gun with his good arm -- and aims dead center-at
Murtaugh's back. Riggs, however, notices. And springs
into action. Before the rich guy can fire ... Riggs' foot
flashes out like a pile driver. CRACK! The guy flies
backward. Lands on top of the pool tarpaulin. Oops. It
promptly surrounds him in a sucking, vice-like grip.
Murtaugh dives forward and extends his hand. Too late.
The vinyl surrounds the screaming rich guy, sucks him
below the surface. Smothers him.
Drags him to the bottom. Murtaugh looks on, wild-eyed.
On the bottom of the pool is a vinyl tomb. Murtaugh
dives in. Swims to the bottom. Yanks, and strains, but
we all know it's no fucking use. The vinyl stops moving.
Murtaugh stares... and then he gives up. Surfaces at the
side of the pool, gasping and wheezing. Riggs kneels
down beside him.
Murtaugh stares daggers at him.
Have you ... ever... met someone
you didn't kill... ?
Haven't killed you yet.
Terrific, you want a little gold
(lie pulls out
a soaked pack
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:
Look, I' m sorry I said that shit
You saved my life. Thank you.
I bet that hurt to say.
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.
Hi, Daddy. Is that a crook?
No, honey, this is Martin, my
(scoops her up;
Tell Martin what you think of
Kid's no dummy.
Daddy, Mommy says you hate her
Tell Mommy hate is a mild word.
60 INT. KITCHEN 60
Trish is cooking as the two cops enter.
(he looks in
We're having something brown... A
largish brown object ...
Dammit, I wanted to guess. Honeny,
this is Martin, my new partner.
He'll be joining us tonight, okay?
Sure. Roast okay with you, Martin?
How about brown, roast-like
Roger, you're being an asshole.
(kisses his ear)
Don't forget to compliment Rianne
on her shoes.
Got it. Drink, Martin?
Bourbon, if you have it.
Murtaugh exits. Riggs stands awkwardly as Trish removes
the roast from the oven.
My wife could burn water.
I was. She's dead now.
Oh. I'm sorry.
He reaches for a stray piece of roast. Trish slaps his
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.
Hello, daughter. Nice shoes.
Oh, Daddy, aren't they great?
Absolutely. How much they cost?
A hundred and ten dollars. Do
you really like them?
A hundred and --
-- They're shoes.
You wear them on your feet.
And that's all they do ... ? There's
not, like a TV inside?
(shakes his head)
I'm very old.
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:
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.
That's okay, honey. I'll take
out the garbage.
Boat. Murtaugh's head appears sheepishly from within.
Yeah. Thanks, honey.
On board boat, Murtaugh is working on the engine. Riggs
sitting on driver's seat.
You know anything about boats,
Know how much they cost.
I mean, can you sail this thing?
What's wrong with you? This ain't
a sail boat.
That's what I thought.
No trick to it. That's the front.
That's the back. Water all around.
Why you gotta make things so
I don't. That's just how they are.
Murtaugh opens an ice chest, takes a beer for himself
and tosses one to Riggs.
Oh, yeah. You mean Amanda
Now, did I mention that?
You don't have to. I can read
Riggs makes no reply. He just looks at Murtaugh over
the rim of his beer can.
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.
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
That's why he came at us today
with a shotgun.
I don't know. Sounds a little
too neat to me.
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.
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.
Lookin' for this?
He silences the engine. Murtaugh glares at him.
Murtaugh jumps, startled by his daughter's arrival.
Rianne and Riggs exchange a glance.
What is it, Rianne?
Mark wants to take me out to a
club tomorrow night.
You're grounded -- you know that.
Please, Daddy ...
Which one is Mark, anyway?
The blond one.
Oh, yeah. The one with pits in
Those are dimples.
Those are pits. When he smiles,
I can see through his head.
The answer is no. End of story.
C'mon, Rog. Have a heart.
Murtaugh looks at Riggs -- not appreciative of his
The girl was smoking pot in the
house. She's grounded!
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.
'Cause right now, beer's legal and
grass ain't. Right or wrong.
She stalks off. After a moment, Murtaugh looks over to
I've lost track... did we resolve
anything here tonight?
Riggs shakes his head, smiles and starts to climb off
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.
Enjoyed the meal.
Bullshit, but thanks anyway.
A pause. Riggs stands there. Then:
You don't trust me at all, do you?
Tell you what. Make it through
tomorrow without killing anybody.
Especially me. Or yourself.
Then I'll start trusting you.
He walks toward his truck. Stops.
I do it real good, you know.
Kill people ... Only thing I ever
did good. When I was nineteen, I
did a guy in Laos from a thousand
Rifle shot in high wind.
Ten guys in the world coulda made
that shot. Huh. Only thing I was
ever good at.
Well, see you tomorrow.
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.
Hi, handsome. Looking for
Aren't we all?
Are you affiliated with any law
No. Get in the car.
She does. Closes the door.
How old are you?
Why, you like 'em young?
Younger the better. How old are
Riggs nods. Takes out a hundred-dollar bill and sets it
in her lap.
So, what do you want?
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.
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
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
His eyes shift to a photo of his wife. He picks it up
and views it sadly.
(turning to him)
You're not having a very good
time, are you?
Riggs puts down the photo.
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.
(after a beat)
Riggs doesn't answer.
I know... sing me something.
I don't sing.
Come on. Sing me a song.
I don't know any songs.
Not even a Christmas song?
Everybody knows a Christmas song.
Riggs shrugs and makes a half-hearted attempt:
Something through the snow,
in a one-horse open sleigh ...
Good. That's good.
(helps him out)
Over the hills we go,
laughing all the way.
Something something ring,
making something bright ...
Oh, what fun it is to ride ...
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
He gently unwraps her arms from around his neck.
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.
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,
... 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
... Martin... ?
Good morning, Roger. I've been
doing a little thinking.
Murtaugh just stares at him.
About the night Amanda Hunsak.er
Do you know what time it is ... ?
I'll get dressed.
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.
You're seriously using ketchup?
Who made the ketchup?
Who made the eggs?
Riggs looks to Trish.
(across the room)
You two are so hilarious I could
Riggs leans forward.
That hooker who witnessed the
jump the other night. What was
What's a hooker?
Shh, quiet, I'm combatting crime.
A hooker is a ...
Right, and she's in Century City
witnessing Amanda Hunsaker's suicide
or murder --
right, or murder, and my question
is... what is she doing there? I
called Wilshire Vice, that's not
her usual turf.
Wow. That's really reaching.
Cut me a break, it's a hunch, Roger.
I'm having a hunch.
You couldn't have it at home, you
had to come here at 7:30 A.M. and
7:35, and yes, I thought you'd be
Okay, go for it. I'm listening.
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:
We know someone was in bed with
Amanda Lloyd the night she died.
Right. 'Til now we assumed it was
Okay. Let's say it was Dixie.
Okay. Disgusting, but okay: Let's
say Dixie slipped the drain cleaner
into the pills.
Say someone paid her to do it.
Sure. She thinks, terrific, Amanda
swallows a couple downers and boom,
she's dead. Then Dixie --
If it was her --
Right, right, then Dixie has
plenty of time to spritz the place
up, get out, whatever.
Except Amanda jumps out the window.
Or Dixie pushes her. Either way
Either way, she's gotta make a
fast getaway, 'cause now the
body's public. She hauls ass
People are coming out to see what
Someone spots her. She says 'shit.'
Right. She actually stops and
Or 'Golly, I've been spotted.'
The point being --
The point being, now she has to
cover her ass.
Right. So she says, 'Officer,
officer, I saw the whole thing.'
That's pretty fucking thin.
Hell with it. Thin's my middle
Your wife's cooking, I'm not
Would you lay off the cooking?
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.
You sleep with that thing under
I would if I slept.
Here, stand back.
Murtaugh steps to the red line. Stretches. Cracks his
neck. Shifts from foot to foot. Finally steadies him-
self. A moment then: He cross-draws with lightning
swiftness. -- BANG -- ! The REPORT is DEAFENING. The
target grows a neat third eye. Perfect shot. Dead
center. Murtaugh grins, holsters his gun.
Hey-hey. Would'ja look at that?
Pretty good for an old man.
Riggs shrugs. Draws. FIRES. He isn't 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.
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.
Hey, kid. What'cha doing?
The Kid grins, obviously pleased with himself.
I put this on top and it fall
He demonstrates. He puts it on top. It falls down. He
grins happily. Riggs shakes his head.
They keep walking. Toward the cottage.
They mount the steps to the walk. As they do -- The
HOUSE suddenly EXPLODES. It BLOWS APART concussively.
There is a flash of light, a loud, flat BANG --! And the
thing tears to pieces. Glass blows out. Wood sprays.
Flying shrapnel. A wall of flame. Riggs hits the dirt,
smothering the Little black Kid. Murtaugh dives for cover
behind a telephone pole. A piece of shrapnel imbeds it-
self; right next to his head. Carnage. Noise. The
tumult slowly begins to fade. Echoes. Flames rage to
the sky. Smoke rolls. Beams collapse. The cottage is
no more. Murtaugh climbs to his feet, dazed; stares at
the rubble. Looks over toward Riggs, who is getting
up off the Kid. The Kid is shaken, but unhurt.
You're on fire.
Riggs looks. The back of his coat is completely ablaze.
He takes it off, flings it aside.
Goes up to Murtaugh- Lights a cigarette.
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.
(he looks under
We're hoping to find some teeth.
in there. Otherwise, could be
anybody. Black, white ... Could
be a fuckin' bowl of soup, for
all we --
The stretcher continues toward the waiting truck.
Murtaugh looks off, whispers:
77 ANOTHER ANGLE 77
Martin Riggs is examining a twisted hunk of metal as
Murtaugh walks up beside him.
Part of the device.
Artwork. This is goddamn artwork.
Swell. I'm glad you liked it.
You don't understand. This is real
pro stuff. Haven't seen this since ...
well, since the war.
C.I.A. used to hire mercs who used
this same setup. Mercury switches.
Murtaugh frowns. A PATROL COP taps him on the shoulder.
Sir, I think you'd better come
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
Okay, here it is. The little kid
says he saw someone working on
the meter this morning.
Across the street at Dixie's. He
was playin' some kind of game,
hidin' under the stairs. Says he
saw the guy pretty good.
Jesus. This could be a break.
You kidding? The kid's six years
You call the gas company?
Sure did. No one supposed to
check that meter for at least
Let me handle this.
Be my guest.
Wanna wear the chicken suit? I got
some clown makeup.
He crosses to the boy.
Hi. I'm Detective Murtaugh. What's
ALFRED (LITTLE KID)
He stares at Murtaugh with eyes like saucers.
How old are you, Alfred?
Bet you like the Gobots, huh?
Me, I'm a G.I. Joe man.
Is that a real gun?
Yes, it is.
Do you kill people?
No. If a guy is hurting someone,
I try to shoot him in the arm or
something. Just to stop him.
Momma says policeman shoot black
Murtaugh grimaces. Alfred's mother looks away quickly.
Alfred, this man you saw. The meter
man ... ?
You get a good look at him?
I saw him.
Great. Listen, you ever watch
'Starsky and Hutch'? 'Cause the
police, sometimes they need help.
They need police helpers.
(he takes out
a plastic badge,
puts it on
If you want, you can be a junior
detective. If you want.
The kid looks at him. Distrust.
Keep it, it's yours. Official
Alfred nods, grins.
The man at the meter. Can you ...
picture him in your head? Think
about what he looked like. Got
Alfred nods. Murtaugh picks up Alfred's box of crayons.
Hands it to the little boy.
I want you to draw him for me.
I'm a good drawer.
Try to draw the man.
Riggs clears his throat. Rolls his eyes.
Oh, brother. This is good. I like
Can it, Martin.
We're gonna put out an A.P.B. on Big
Attention all units. Large yellow
bird. Silly voice.
You're hilarious. Alfred, draw the
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.
Brilliant police work? I think so.
79 ANOTHER ANGLE 79
Minutes have passed.
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.
Oh, my ...
... Oh, my...
He laughs even harder now. Murtaugh scowls,
snatches the picture away.
Terrific. Very professional.
Riggs is hooting. Murtaugh shows the picture to Alfred.
He laugh at my picture.
Shhh. Don't mind him. He's
I'm a good drawer.
Alfred. This is ... the man's arm,
Okay. Now this mark. Is this ...
What is this?
He had it on his arm.
Riggs stops laughing. Moves in closer.
Whoa. What was on his arm?
Was it a birthmark?
Was it like this?
No. It was pained.
Pained, pained. What's he saying?
It was ... painted?
Like a tattoo?
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.
This is a tattoo.
The boy's eyes go wide once again. He points at Riggs' arm.
It was that.
The cops stop, puzzled.
It was that? You mean... just
Yeah. Man had the same thing.
Alfred nods. The cops exchange glances:
Special Forces tattoo ... ?
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.
Roger... What ... What's up, buddy?
Wanna tell me about it?
Tell you about what?
Don't bullshit me. That's over.
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.
I don't know what you're talking
about. Roger, I ...
Keep your hands in front.
Hey. Take it easy, man.
When you called me the other day,
you were gonna blow the whistle,
Blow the whistle on what?
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
Talk to me.
Can't ... can't do that ...
They killed your daughter.
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.
Dammit, Roger, I've... ve o
She'll be protected.
It's over, pal.
Protected. That's a laugh... You
don't know these people.
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:
It goes all the way back to the
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.
Couple of years ago, Shadow Company
got together again. The war was
over, but we still had a list of
sources. In Asia.
And ... ?
And we've been bringing it in ever
Bringing what in?
Think real hard.
Two shipments a year. Run by
ex-C.I.A. Soldiers, mercs. No
You son of a bitch.
Lloyd does not reply. A pause, then:
If you were getting cold feet,
why'd they kill Amanda? Why not
just kill you?
They can't. They need me.
My bank. It's the front. Makes
everything look good on the tax
The tax report ... ?
This is big business, Roger.
Not any more. I'm gonna burn
You can't. It's too big. These
guys are trained killers.
Tell me about the next shipment.
No. No way.
Murtaugh grabs a framed picture of Amanda, slams it
down on a wooden bul--cher block. The GLASS SHATTERS.
Lloyd flinches. Leans back, a dreamy look in his eyes.
Speaks from very far away ...
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.
Oh, swell. Good move.
I'm not kidding. I'm in too far
Murtaugh does not budge. Lloyd cocks the hammer.
The gun is silenced, Roger.
Murtaugh stares him down. Eyes like fire.
What's it gonna be, buddy ... ?
You gonna save my life, just so
you can snuff me twenty years
Things are different now.
A moment. Lloyd stares intently. Finger sweating on the
If you can do it, do it. I don't
fucking care anymore.
LLoyd blinks. Swallows. Another moment. Finally -- He
lowers the gun. Sighs.
... 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.
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:
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.
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.
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
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:
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.
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
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.
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.
and a silent
It's over, but he
90 CONTINUED: (2) 90
Riggs looks up at him. His eyes look like a demon's.
I haven't even started.
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.
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.
Lloyd spoke to the cops, sir.
Are the cops dead?
No, sir. I missed.
There is a significant pause. Joshua licks his lips.
That's very disappointing. The
police may know everything. The
whole operation, yes?
Yes. Awaiting orders, sir.
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:
Mark, I gotta get home.
Would you quit worrying? Your
mom thinks you're asleep and
your dad's busy shooting crooks.
He said he'll shoot you if we
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.
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 -- *
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
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.
I'm pissed, Roger. Now I'm pissed.
96A EXT. STORE 96A
The cops exit and cross the street toward their car.
Roger. Quit looking so damn
worried. I'm fine.
Two inches higher, they would've
got your head.
Fuck that. Two inches to the left,
they would've got my smokes.
He takes out a pack, lights one up.
Oh, by the way: Guy who shot me?
Same guy who shot Lloyd.
Jesus ... You sure?
I never forget an asshole.
So okay, ace: What do we do now?
Give up? Flee? Go far away?
Hilarious. What do we really do?
What else? We bury the fuckers.
You know, we solve this, we could
get famous, do shaving ads and shit.
Do goddamn Forest Lawn ads, we're
Heh. Don't be a killjoy. It's
Friday night. Let's go kick ass.
You just got shot, man.
What do you mean, exactly?
Gives us the edge, Cochise.
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.
Four King sixty, meet four king
ninety on tach two.
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.
Four king sixty, negative.
Give it to Burke.
PATROL COP (V.0.)
Sorry, sixty. Captain says give
it to you. Male Caucasian, age
Swell. Did he have blond hair and
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.
Bastards ... bastards ...
Riggs looks on, stunned. The TELEPHONE RINGS. RINGS
Murtaugh looks up. Snaps out of it. Down the hall, his
wife Trish moves to answer the phone.
Don't answer that!!
He rushes down the hall, scoops up the receiver:
He listens intently, a look of pure dread on his face.
Hangs up slowly, stares straight ahead. On the table, a
stuffed bear stares back impassively. Trish Murtaugh
looks on, terrified.
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.
'Don we now our gay apparel...'
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.
Hello, I'm calling from the
K.T.L.A. News department. We
heard that Sergeant ... um, Riggs,
is it ... ? had some trouble tonight,
Yes, Sergeant Riggs has been
killed. Shot through the chest
by unknown assailants.
My God. I'm sorry.
It's a bad day for all of us. And
what is your name, sir?
He hangs up. Turns to the General.
Bingo. Riggs is out of the
I want Murtaugh taken alive.
He may not talk.
We have his little girl. He'll
100 OMITTED 100 *
101 INT. RIANNE'S BEDROOM - NIGHT 101 *
Trish Murtaugh looks like she could come apart at any *
She walks around the bedroom, slowly.
Touching her daughter's possessions.
Murtaugh enters. They look at each other.
He hands her the .22.
Take this. Until it's over, I
don't want you to let it out of
His wife nods. Runs a hand through her hair. Shifts
from one foot to the other.
They're not going to hurt her.
If I do exactly what they say...
they'll let her go.
She's coming home.
A moment. Then:
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.
Carrie walks over to him.
I can't sleep.
Uh-oh. Not good.
He scoops her up.
Who's your friend?
Rickles the cat.
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.
Riggs looks at her. Smiles, and whispers softly:
And he suddenly hugs the little girl for all he's worth.
Closes his eyes tight.
In that moment, every single year catches up to Riggs,
and he looks, for a moment, incredibly old, and so very,
very tired ...
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.
You know they're going to kill
You want her back, you've got to
take her away from them.
Good. We do this my way.
You shoot, you shoot to kill. Get
as many as you can. Don't miss.
I won't miss.
A pause. Riggs studies Murtaugh. Then:
We're gonna get bloody on this one.
You're going to have to trust me.
Murtaugh stares at him for a moment. Then, he finally
... How... good are you... ?
Are you... only crazy ... or are
you... as good as you say you
There is a pause. Then:
No one can touch me.
Good. Kill every fucking one of
them. Okay ... ?
At which point, my friends, a light flickers on behind
We see grim determination, sure ...
But we also sense something else, oddly enough:
Riggs is a machine ... and the machine is, well ...
revving up. He looks at Murtaugh:
Get half. I'll kill the other
A moment passes between them. This will be the most
devastating night of their lives. They will probably
A RINGING PHONE shatters the stillness.
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
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 ...
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...
There is a KNOCK at the door. Riggs spins. Lightning
quick. Gun in hand.
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.
Hollow points. Armor piercing.
You weren't followed?
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.
Testing, one, two, three...
He straps on his hunting knife.
It's twelve-thirty. Let's move.
Don't get too close. They'll
Riggs hoists a long-range sniper rifle. Infra-red scope.
Thousand yards okay ... ?
109 EXT. LOW DESERT - DAY 109
The desert floor shimmers with stored heat, bathed in
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
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
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 ...
Hands up. Come with us.
Show me the girl.
She's not here.
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
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..
Simple exchange. You come with
us, the girl takes a walk.
Let her go now.
No. Take your hands out of your
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
This fucker's alive.
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.
But sir ...
He's bluffing, it's a dud. He
wouldn't risk killing his
Don't push me.
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.
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.
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
Come on... Move away from the girl ...
120 MURTAUGH 120
Joshua stops in front of Murtaugh. Cocks the gun.
Drop the fucking grenade.
I do and we die.
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:
Riggs ... !
Meanwhile, Murtaugh rolls, comes up, gun in hand. FIRES,
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.
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.
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
You're not that fast, son.
Drop the rifle.
He speaks into a walkie-talkie.
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-
A very nice try.
Kendo. Get the girl.
133 ON HILLTOP 133
Riggs stands, hands over head. The General studies him
Martin Riggs. Your combat record
is the stuff of legend.
So is yours. General Peter
McAllister, commander of Shadow
I see we've heard of each other.
Yeah. It'll almost be a shame
when I kill you.
I don't think so, son.
134 DESERT FLOOR 134
Mr. Joshua says to Murtaugh:
You're about to have a fun evening.
Joshua slams him in the head with a karate blow. He
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
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
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
Well, well. Look who's back from
Riggs struggles against the manacles, slopping water.
Please save your strength. I
believe you'll need it.
Riggs stops moving. Scowls at Joshua and says nothing.
You're just in time for a lot of
Oh, you will be. I daresay
you'll be ... shocked.
Kendo snickers in the corner.
Who's the chin?
Shhh. Don't make him mad.
My mistake. Who's the pleasant
His name is Kendo, and he has
forgotten more about dispensing
pain than you will ever know.
Terrific. Listen, guys, can we
get some Mister Bubble in here ...
Please shut up.
My, my, look at all those scars.
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.
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.
That would be a shame.
Indeed. So you see, Martin, it
is essential that we find out
how much the police know.
We don't know shit. You killed
Lloyd before he could talk.
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
Such a deal, I should worry.
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.
Do you vomit?
Joshua nods. Sighs.
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?
Please, no tickling. I hate
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.
I thought you'd like it. I can
of course, kill you now. Simply
tell me what you know.
Guess we're in for a long night.
'Cause I don't know scratch.
We'll find out. Kendo ... ?
The Oriental moves forward. He brandishes the sponge/
battery hookup. Dips it into a bucket of water. Riggs
Feel free to scream.
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.
My goodness. Now that was fun,
Riggs looks at him. Dripping hate.
I'm going to kill both of you.
That's very funny.
About the shipment ... ?
Kendo dunks the battery.. Run it down Riggs' stomach.
He screams again, as we mercifully ...
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.
The shipment, Mr. Murtaugh?
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.
That's it ... if you guys think
I'm sending you a Christmas card
Larch cuffs him, hard.
This is going nowhere. Mr.
Larch ... ?
Larch grins, leaves the room. A pause. Murtaugh sweats,
glaring out from swollen eyelids. The General nods,
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:
He knows shit. We're safe.
Believe me, he'd have told us.
Big, bad soldier ... my ass.
I'm going upstairs. Deal with
Deal with him?
Fry his nuts.
140 INT. DINGY BACK ROOM - SAME TIME 140
The General leans over Murtaugh. Murtaugh sweats.
Anytime, Roger. Anytime.
See, the thing of it is ... We know
where you live.
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.
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:
Bastards ... Untie me and I'll
kill every one of you.
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:
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.
No ... Please ...
You die now, Sergeant Riggs.
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.
Good Lord. Very wholesome-
looking girl. Yessirreee.
Goddammit, I've told you
We'll soon know, won't we?
Larch approaches Rianne. She squirms.
You touch her, you're dead.
Oh, son, spare me.
It's over, Sergeant. No heroes
around to save you ...
He picks up a baseball bat. Tosses it to Larch.
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.
Work your circulation.
Crosses to Rianne, cuts her free. She collapses sobbing
into his arms.
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
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,
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.
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:
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.
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
149 UP AHEAD 149
Joshua turns, sees Riggs -- and stops.
Okay, you bastard, let's see
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.
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.
Where is he, Officer?
Right over there.
He points -- and suddenly frowns: There is no one there.
Murtaugh is gone. Nowhere to be seen.
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
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...
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
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
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.
Try not to breathe, you'll see
We ... gotta find him.
No dice. First thing we gotta do
is get you to a hospital.
Uh-huh First thing we gotta do
is check on my house.
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
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.
Excuse me, sir, may I see some
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
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.
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:
NO ONE HERE BUT US COPS.
-- 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.
Ho, ho, ho.
He raises his gun and fires without blinking.
Blows the gun out of Joshua's hands.
Smiles a big shit-eating grin.
Joshua turns and dives through the hole in the wall
Lands outside, comes up running, but sorry, no dice
because there stands Roger Murtaugh. Drawing a bead on
Joshua's running figure.
Joshua stops dead. Turns, growling low in his throat.
A fire hydrant, sheared off by the runaway car, sprays
water high into the nighttime air. The wind blows.
Martin Riggs steps out of the house. Pointing the .38
Special like a finger of doom. Strolls toward Mr.
Joshua... the gun is rock steady. Riggs' eyes meet
Murtaugh's, and he speaks with deadly purpose:
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:
Come on, ace.
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
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-
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.
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
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:
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 ...
That's it, Martin... your body
wants to go into shock... but you
won't let it, will you ... ?
... Give it up ... Your breathing's
so's your left arm...
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:
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:
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.
Last chance. Walk away.
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.
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:
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
173 ON GROUND 173
Riggs looks at Murtaugh. Murtaugh looks at Riggs.
Take it easy, Martin...
... Right. Easy. You bet ...
Does it hurt ... ?
Riggs throws him a look.
What are you, an idiot?
I got good news and bad news.
What's the good news?
... Good news is, I'm not dead...
What's the bad news?
Riggs grimaces in pain-
... Bad news is, I'm still alive ...
He chuckles. Groans. Passes out. The water RAINS
steadily down. The night wears on...
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.
There are worse things than a
Guess I won't be seeing you
The Department thinks I'm wild.
I don't belong anymore. Not
Where do you belong?
Who knows ... ? Maybe I can get
a job on a remake of Cobra.
My son would come see you.
He'd be the only one.
This ... is a bad old world,
Yeah. Sometimes it really is.
I'm thinking of quitting.
Don't you dare.
Murtaugh looks at him.
You're too old to change now,
Me? Old... ?
You just hang in there.
Yeah. You, too.
Guess I'll say goodbye.
Sure. Come over for dinner
Don't blame you. I'm thinking
of arresting my wife for cruelty
Merry Christmas, Martin.
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.
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
I'm fifty. That's not old,
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
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.
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.
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.
He hands something to her. She takes it. The bottle of
pills. It has a red ribbon tied around it.
Give that to your dad. It's a
present. Tell him I won't be
needing them anymore.
Okay. You wanna come in? We're
Riggs thinks it over. Shakes his head:
No, that's okay.
You have a Merry Christmas,
Riggs turns to go. Rianne stops him:
They say you're the best.
Beat. He stops. Turns and looks at her.
(big smile; wild wink)
No one can touch me.
Riggs begins to walk away, into the rain...
Until Roger Murtaugh appears from inside the boat on the
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:
Sucker, if you think I'm gonna cat
the world's lousiest Christmas
turkey all by my lonesome, you're
Riggs nods. A moment passes. Then:
I think your daughter kinda likes
You touch her, I'll kill you.
The rain falls, as they enter the house together, and