SCENES
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Scene Map 60
# PG SLUGLINE
1 1
LETHAL WEAPON
2 3
1A EXT. BENEATH THE PIER NIGHT 1A
3 8
5 EXT. MURTAUGH'S HOUSE - PRE-DAWN 5
4 9
9 EXT. SIMI VALLEY - MORNING 9
5 9
12 INT. MURTAUGH HOME - SAME TIME 12
6 13
14 INT. POLICE FIRING PANGE - MORNING 14
7 14
16 EXT. CENTURY CITY PARKING LOT - MORNING 16
8 14
17 INT. MURTAUGH'S CAR 17
9 16
19A EXT. CHRISTMAS TREE LOT - DAY 19A
10 21
26 INT. METRO SQUAD ROOM - MORNING 26
11 23
27 EXT. SIMI VALLEY - NIGHT 27
12 27
36 INT. OFFICE 36
13 28
37 INT. BACK OFFICE - SAME TIME 37
14 30
40 EXT. UNMARKED POLICE CAR - DAY 40
15 33
41 INT. BANK BUILDING - DAY 41
16 34
42 EXT. OFFICE BUILDING - DAY 42
17 36
43 EXT. CITY INTERSECTION - DAY 43
18 37
44 EXT. ROOFTOP - DAY 44
19 38
45 EXT. BUILDING - DAY 45
20 43
46 INT. POLICE LINEUP - DAY 46
21 44
48 INT. MURTAUGH'S CAR - TRAVELING - DAY 48
22 45
49 EXT. POSH BEVERLY HILLS HOME - TWILIGHT 49
23 47
57 INT. SOLARIUM 57
24 49
59 INT. MURTAUGH HOME - LATER THAT NIGHT 59
25 51
60A INT. LIVING ROOM - SAME 60A
26 52
63. EXT. MURTAUGH'S HOIJSE - DRIVEWAY - BOAT - NIGHT 63
27 56
65 EXT. SUNSET STRIP - NIGHT 65
28 58
67A INT./EXT. RIGGS' TRAILER - NIGHT 67A
29 60
70 INT. MURTAUGH'S BEDROOM 70
30 60
72 INT. MURTAUGH KITCHEN 72
31 62
73 INT. OUTDOOR FIRING PANGE - DAY 73
32 65
75 EXT. WEST L.A. STREET - MORNING 75
33 66
76 EXT. BURNED-OUT COTTAGE - LATER 76
34 67
78 EXT. STREET - BACK OF FIRE TRUCK 78
35 72
80 EXT. CLIFFSIDE HOUSE - DAY 80
36 74
83 INT. LLOYD'S HOUSE - MOMENTS LATER 83
37 77
84 EXT. LAWN 84
38 80
91 INT. HELICOPTER - SAME TIME 91
39 80
93 EXT. VIEWSITE - NIGHT 93
40 81
95 EXT. THIRD STREET - NIGHT 95
41 82
96A EXT. STORE 96A
42 83
97 EXT. MURTAUGH HOME NIGHT
43 84
98 INT. MIDTOWN HOMICIDE - NIGHT 98
44 85
101 INT. RIANNE'S BEDROOM - NIGHT 101 *
45 87
104 INT. LIVING ROOM - LATER 104
46 88
106 INT. MARTIN RIGGS' TRAILER - DAY 106
47 90
109 EXT. LOW DESERT - DAY 109
48 91
114 INT. VAN 114
49 92
116 EXT. HILLTOP - MEANWHILE 116
50 96
136 INT. BASEMENT ROOM - NIGHT 136
51 99
138 INT. DINGY BACK ROOM - SAME 138
52 100
139 INT. BASEMENT - BACK WITH RIGGS 139
53 101
140 INT. DINGY BACK ROOM - SAME TIME 140
54 102
141 INT. BASEMENT - SAME TIME 141
55 104
144 EXT. BUILDING - NIGHT 144
56 106
152 EXT. BACK ALLEY - SAME TIME 152
57 107
154 EXT. ROADWAY 154
58 109
159 EXT. CITY STREET - SAME TIME 159
59 114
174 EXT. LONG BEACH BAR - DAY 174
60 117
175 EXT. CEMETERY - DUSK (SAME DAY) 175
INT EXT INT/EXT hover for full slug
Scene Map
60
# PG SLUGLINE
1 1
LETHAL WEAPON
LETHAL WEAPON
LETHAL WEAPON by Shane Black FADE IN:
2 3
1A EXT. BENEATH THE PIER NIGHT 1A
1A EXT. BENEATH THE PIER NIGHT 1A
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.
3 8
5 EXT. MURTAUGH'S HOUSE - PRE-DAWN 5
5 EXT. MURTAUGH'S HOUSE - PRE-DAWN 5
5 EXT. MURTAUGH'S HOUSE - PRE-DAWN 5 Palm trees cast shadows on the lawn. Toys, lots of them, littered across the lawn. A Big Wheel, a G.I. Joe figure. Christmas lights are strung across the eaves. CUT TO:
4 9
9 EXT. SIMI VALLEY - MORNING 9
9 EXT. SIMI VALLEY - MORNING 9
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-
5 9
12 INT. MURTAUGH HOME - SAME TIME 12
12 INT. MURTAUGH HOME - SAME TIME 12
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.
6 13
14 INT. POLICE FIRING PANGE - MORNING 14
14 INT. POLICE FIRING PANGE - MORNING 14
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
7 14
16 EXT. CENTURY CITY PARKING LOT - MORNING 16
16 EXT. CENTURY CITY PARKING LOT - MORNING 16
16 EXT. CENTURY CITY PARKING LOT - MORNING 16 The sky threatens rain. Cars buzz by as the city awakens. A section of the parking lot is cordoned off by yellow streamers which read: POLICE LINE - DO NOT CROSS, and
8 14
17 INT. MURTAUGH'S CAR 17
17 INT. MURTAUGH'S CAR 17
17 INT. MURTAUGH'S CAR 17 The sarge drives up and gets out. A BEAT COP Toes by. BEAT COP Happy 50th, Rog. MURTAUGH
9 16
19A EXT. CHRISTMAS TREE LOT - DAY 19A
19A EXT. CHRISTMAS TREE LOT - DAY 19A
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.
10 21
26 INT. METRO SQUAD ROOM - MORNING 26
26 INT. METRO SQUAD ROOM - MORNING 26
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
11 23
27 EXT. SIMI VALLEY - NIGHT 27
27 EXT. SIMI VALLEY - NIGHT 27
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.
12 27
36 INT. OFFICE 36
36 INT. OFFICE 36
36 INT. OFFICE 36 Darkness. A soft CLICK as a gun is cocked. The barrel gleams faintly in the dim light. A voice: MAN (O.S.) There are three guns on you.
13 28
37 INT. BACK OFFICE - SAME TIME 37
37 INT. BACK OFFICE - SAME TIME 37
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.
14 30
40 EXT. UNMARKED POLICE CAR - DAY 40
40 EXT. UNMARKED POLICE CAR - DAY 40
40 EXT. UNMARKED POLICE CAR - DAY 40 Riggs and Murtaugh cruise through downtown Los Angeles. Riggs drives, while Murtaugh scowls. There is an awk- ward pause. MURTAIJGH
15 33
41 INT. BANK BUILDING - DAY 41
41 INT. BANK BUILDING - DAY 41
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
16 34
42 EXT. OFFICE BUILDING - DAY 42
42 EXT. OFFICE BUILDING - DAY 42
42 EXT. OFFICE BUILDING - DAY 42 Riggs and Murtaugh head ior the car. Riggs takes out a pack of cigarettes. MURTAUGH You gonna smoke in the car?
17 36
43 EXT. CITY INTERSECTION - DAY 43
43 EXT. CITY INTERSECTION - DAY 43
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
18 37
44 EXT. ROOFTOP - DAY 44
44 EXT. ROOFTOP - DAY 44
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.
19 38
45 EXT. BUILDING - DAY 45
45 EXT. BUILDING - DAY 45
45 EXT. BUILDING - DAY 45 On the ground below, Roger Murtaugh reacts with disbelief. His partner is taking an insane risk. Up above, Riggs pauses. Around him the WIND BLOWS treacherously. RIGGS
20 43
46 INT. POLICE LINEUP - DAY 46
46 INT. POLICE LINEUP - DAY 46
46 INT. POLICE LINEUP - DAY 46 The Police Psychologist we met earlier is talking on the telephone: PSYCHOLOGIST
21 44
48 INT. MURTAUGH'S CAR - TRAVELING - DAY 48
48 INT. MURTAUGH'S CAR - TRAVELING - DAY 48
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:
22 45
49 EXT. POSH BEVERLY HILLS HOME - TWILIGHT 49
49 EXT. POSH BEVERLY HILLS HOME - TWILIGHT 49
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
23 47
57 INT. SOLARIUM 57
57 INT. SOLARIUM 57
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
24 49
59 INT. MURTAUGH HOME - LATER THAT NIGHT 59
59 INT. MURTAUGH HOME - LATER THAT NIGHT 59
59 INT. MURTAUGH HOME - LATER THAT NIGHT 59 The two detectives come through the front door, shedding their jackets. Young Carrie appears, nursing a Popsicle. CARRIE Hi, Daddy. Is that a crook?
25 51
60A INT. LIVING ROOM - SAME 60A
60A INT. LIVING ROOM - SAME 60A
60A INT. LIVING ROOM - SAME 60A Murtaugh is fixing drinks as RIANNE enters. We all heave a sigh. She is strictly to perish for. RIANNE Hello, Father.
26 52
63. EXT. MURTAUGH'S HOIJSE - DRIVEWAY - BOAT - NIGHT 63
63. EXT. MURTAUGH'S HOIJSE - DRIVEWAY - BOAT - NIGHT 63
63. EXT. MURTAUGH'S HOIJSE - DRIVEWAY - BOAT - NIGHT 63 Tirsh Murtaugh wheeling garbage pail to curbside. TRISH (sarcastically) That's okay, honey. I'll take
27 56
65 EXT. SUNSET STRIP - NIGHT 65
65 EXT. SUNSET STRIP - NIGHT 65
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
28 58
67A INT./EXT. RIGGS' TRAILER - NIGHT 67A
67A INT./EXT. RIGGS' TRAILER - NIGHT 67A
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
29 60
70 INT. MURTAUGH'S BEDROOM 70
70 INT. MURTAUGH'S BEDROOM 70
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
30 60
72 INT. MURTAUGH KITCHEN 72
72 INT. MURTAUGH KITCHEN 72
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
31 62
73 INT. OUTDOOR FIRING PANGE - DAY 73
73 INT. OUTDOOR FIRING PANGE - DAY 73
73 INT. OUTDOOR FIRING PANGE - DAY 73 Riggs and Murtaugh stand on line at the range. Around them the echoing BOOM of gunshots fills the morning air. They struggle to be heard over the tumult: MURTAUGH
32 65
75 EXT. WEST L.A. STREET - MORNING 75
75 EXT. WEST L.A. STREET - MORNING 75
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
33 66
76 EXT. BURNED-OUT COTTAGE - LATER 76
76 EXT. BURNED-OUT COTTAGE - LATER 76
76 EXT. BURNED-OUT COTTAGE - LATER 76 Cops prowl through the gutted remains. Charred and black. Nothing left. A body goes by on a stretcher. MURTAUGH stops it. MURTAUGH
34 67
78 EXT. STREET - BACK OF FIRE TRUCK 78
78 EXT. STREET - BACK OF FIRE TRUCK 78
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
35 72
80 EXT. CLIFFSIDE HOUSE - DAY 80
80 EXT. CLIFFSIDE HOUSE - DAY 80
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
36 74
83 INT. LLOYD'S HOUSE - MOMENTS LATER 83
83 INT. LLOYD'S HOUSE - MOMENTS LATER 83
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.
37 77
84 EXT. LAWN 84
84 EXT. LAWN 84
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
38 80
91 INT. HELICOPTER - SAME TIME 91
91 INT. HELICOPTER - SAME TIME 91
91 INT. HELICOPTER - SAME TIME 91 Joshua and his pilot are cruising over the surf at break- neck speed, the rotor stirring tiny geysers of water. Joshua speaks into a radio microphone. JOSHUA
39 80
93 EXT. VIEWSITE - NIGHT 93
93 EXT. VIEWSITE - NIGHT 93
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.
40 81
95 EXT. THIRD STREET - NIGHT 95
95 EXT. THIRD STREET - NIGHT 95
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
41 82
96A EXT. STORE 96A
96A EXT. STORE 96A
96A EXT. STORE 96A The cops exit and cross the street toward their car. RIGGS Roger. Quit looking so damn worried. I'm fine.
42 83
97 EXT. MURTAUGH HOME NIGHT
97 EXT. MURTAUGH HOME - NIGHT
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
43 84
98 INT. MIDTOWN HOMICIDE - NIGHT 98
98 INT. MIDTOWN HOMICIDE - NIGHT 98
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.
44 85
101 INT. RIANNE'S BEDROOM - NIGHT 101 *
101 INT. RIANNE'S BEDROOM - NIGHT 101 *
101 INT. RIANNE'S BEDROOM - NIGHT 101 * Trish Murtaugh looks like she could come apart at any * moment. She walks around the bedroom, slowly. Touching things.
45 87
104 INT. LIVING ROOM - LATER 104
104 INT. LIVING ROOM - LATER 104
104 INT. LIVING ROOM - LATER 104 Carrie is asleep on the couch, snuggled beneath a knitted afghan. Riggs and Murtaugh stand across the room, con- ferring in hushed tones. RIGGS
46 88
106 INT. MARTIN RIGGS' TRAILER - DAY 106
106 INT. MARTIN RIGGS' TRAILER - DAY 106
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
47 90
109 EXT. LOW DESERT - DAY 109
109 EXT. LOW DESERT - DAY 109
109 EXT. LOW DESERT - DAY 109 The desert floor shimmers with stored heat, bathed in relentless sunlight. A lone car, plowing along toward the horizon. Looking lost and utterly alone beneath the clear December sky.
48 91
114 INT. VAN 114
114 INT. VAN 114
114 INT. VAN 114 Inside, Rianne is gagged, helpless. She looks terrified. Next to her, Mr. Joshua hblds a cocked pistol. Merc #1 leans in: MERC #1
49 92
116 EXT. HILLTOP - MEANWHILE 116
116 EXT. HILLTOP - MEANWHILE 116
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
50 96
136 INT. BASEMENT ROOM - NIGHT 136
136 INT. BASEMENT ROOM - NIGHT 136
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-
51 99
138 INT. DINGY BACK ROOM - SAME 138
138 INT. DINGY BACK ROOM - SAME 138
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
52 100
139 INT. BASEMENT - BACK WITH RIGGS 139
139 INT. BASEMENT - BACK WITH RIGGS 139
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
53 101
140 INT. DINGY BACK ROOM - SAME TIME 140
140 INT. DINGY BACK ROOM - SAME TIME 140
140 INT. DINGY BACK ROOM - SAME TIME 140 The General leans over Murtaugh. Murtaugh sweats. GENERAL Anytime, Roger. Anytime. (beat)
54 102
141 INT. BASEMENT - SAME TIME 141
141 INT. BASEMENT - SAME TIME 141
141 INT. BASEMENT - SAME TIME 141 Kendo switches on the battery again. In the tub, Riggs' head lolls back and forth. Listless. Dead. His eyes refuse to focus. Kendo shows him the sponge. RIGGS
55 104
144 EXT. BUILDING - NIGHT 144
144 EXT. BUILDING - NIGHT 144
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
56 106
152 EXT. BACK ALLEY - SAME TIME 152
152 EXT. BACK ALLEY - SAME TIME 152
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.
57 107
154 EXT. ROADWAY 154
154 EXT. ROADWAY 154
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
58 109
159 EXT. CITY STREET - SAME TIME 159
159 EXT. CITY STREET - SAME TIME 159
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
59 114
174 EXT. LONG BEACH BAR - DAY 174
174 EXT. LONG BEACH BAR - DAY 174
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,
60 117
175 EXT. CEMETERY - DUSK (SAME DAY) 175
175 EXT. CEMETERY - DUSK (SAME DAY) 175
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
INT EXT INT/EXT tap to expand

Lethal Weapon

Buddy cops collide in explosive fashion: a loose-cannon sharpshooter and a 50-year-old family man race against time to stop a holiday heroin shipment, blending bullets, banter, and brutal redemption.

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Overview

Poster
Unique Selling Point

The script's unique selling proposition is its revolutionary approach to the action genre by grounding explosive set pieces in genuine psychological trauma and emotional vulnerability. Unlike typical 80s action films that featured invincible heroes, 'Lethal Weapon' presents deeply flawed, human characters whose partnership becomes their salvation. The combination of dark humor, authentic character arcs, and expertly choreographed action creates a template that would define the buddy-cop genre for decades. The script's willingness to explore themes of grief, aging, and redemption through the lens of an action thriller makes it compelling storytelling that resonates beyond genre conventions.

AI Verdict

Model upgrade — Mar 31, 2026: Analysis is from our newer, stronger readers. Scores aren't directly comparable to pre-upgrade analyses.
GPT5
 Recommend
Score 8.5
Gemini
 Highly Recommend
Score 9.5
Grok
 Highly Recommend
Score 9.5
Claude
 Recommend
Score 8.3
DeepSeek
 Highly Recommend
Score 9.3
Average Score: 9.0
Key Takeaways
For the Writer:
To refine this script from a creative standpoint, focus on enhancing character depth, particularly for female roles like Rianne and Amanda, by giving them more agency and personal motivations beyond serving as plot catalysts. Additionally, strengthen villain backstories to add psychological complexity, making antagonists like the General more than mere threats. These improvements would boost emotional resonance and thematic richness, ensuring the story feels timeless and inclusive without compromising its high-energy action core.
For Executives:
This script holds strong commercial value as a proven action blueprint with iconic buddy-cop dynamics and memorable set pieces that could drive solid box office returns, especially with a built-in fanbase from the franchise. However, risks include outdated gender portrayals and shallow antagonist development that may invite criticism in today's market, potentially limiting appeal to diverse audiences and requiring updates to avoid alienating modern viewers or facing cultural sensitivity issues.
See Details in P/C/R/HR Section
Story Facts
Genres:
Action 45% Crime 35% Drama 40% Comedy 25% Thriller 35% War 10%

Setting: Modern day, around Christmas, Los Angeles and surrounding areas, including a high-rise penthouse, suburban homes, a cemetery, and desert locations

Themes: Trauma, Loss, and Nihilism, Partnership, Trust, and Redemption, The Pervasiveness of Corruption and Violence, Family and Belonging, Identity and Self-Discovery, The Paradox of Violence and Morality, Aging and Mortality

Conflict & Stakes: The primary conflict revolves around Riggs and Murtaugh's investigation into a murder linked to drug trafficking, which escalates into a personal battle against mercenaries threatening Murtaugh's family, particularly his daughter Rianne.

Mood: A blend of dark humor, tension, and emotional depth.

Standout Features:

  • Unique Hook: The combination of dark humor and intense action, set against a Christmas backdrop.
  • Major Twist: The revelation of personal connections between characters, such as Murtaugh's past with the victim's family.
  • Innovative Ideas: The use of holiday themes to juxtapose the violence and chaos of the plot.
  • Distinctive Settings: The contrast between the opulence of Los Angeles and the gritty underbelly of crime.
  • Genre Blend: A mix of action, comedy, and drama that appeals to a wide audience.

Comparable Scripts: Lethal Weapon, The Hangover, Fight Club, American Beauty, The Departed, Training Day, Dead Poets Society, The Pursuit of Happyness, The Shield

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 8.00
Key Suggestions:
To elevate the script's creative impact, focus on deepening character backstories and motivations, particularly for the antagonist Mr. Joshua and supporting characters, to create more emotional resonance and cohesive conflict. Additionally, refine pacing by tightening exposition-heavy scenes and integrating more nuanced emotional beats, such as through flashbacks, to enhance audience engagement and ensure the narrative's humor and action are balanced with genuine depth.
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Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
To refine 'Lethal Weapon' from a creative standpoint, focus on tightening the pacing by cutting redundant scenes to maintain momentum, deepen emotional arcs—especially Riggs' backstory—to foster stronger audience connections, and infuse action sequences with more originality to avoid formulaic tropes. These enhancements will elevate the script's emotional depth and engagement, making the character-driven elements shine alongside the high-stakes action.
> Go to Story Critique
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The character analysis reveals that both Roger Murtaugh and Martin Riggs are well-developed protagonists, but to elevate the script's emotional depth and audience engagement, focus on amplifying their internal conflicts and arcs. For Murtaugh, delve deeper into his fears of aging and family loss to make his protective instincts more poignant, while for Riggs, emphasize his grief and transformation through more vulnerable moments and flashbacks. Strengthening their relationship dynamics, especially the evolution from distrust to partnership, will enhance the buddy-cop dynamic and provide a more compelling narrative arc, ensuring the story resonates on an emotional level beyond action sequences.
> Go to Characters
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Key Suggestions:
The script's emotional landscape is rich in suspense and character depth but suffers from uneven intensity and limited emotional variety, leading to potential fatigue. To improve, focus on integrating more balanced pacing with strategic relief moments, blending humor or warmth into tense scenes, and deepening emotional layers in action sequences and antagonist portrayals to create a more engaging and nuanced narrative that better sustains audience investment.
> Go to Emotional Analysis
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The script's character-driven narrative effectively explores themes of justice, redemption, and personal growth, but to enhance its craft, focus on tightening the philosophical conflict resolutions to avoid predictability and deepen emotional beats, ensuring that internal and external goal evolutions feel organic and impactful. By emphasizing subtle character interactions and varying pacing in high-tension scenes, the writer can elevate the story's depth and resonance, making the protagonist's arc more compelling and less reliant on action clichés.
> Go to Goals and Philosophical Conflict
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
From a creative perspective, the script's strength lies in its deep exploration of trauma and redemption, but to elevate it, focus on refining Riggs' character arc to ensure his transformation feels organic and less reliant on clichés, such as his suicidal tendencies. Balance the intense action sequences with more nuanced emotional moments, particularly in family interactions, to deepen audience investment and avoid overwhelming the narrative with violence. Additionally, leverage the partnership dynamic between Riggs and Murtaugh to highlight subtle growth, making the themes of trust and belonging more impactful through authentic dialogue and quieter scenes.
> Go to Themes
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The script's inconsistencies, particularly in character development and plot coherence, undermine its emotional impact and pacing. To improve, focus on aligning character behaviors with their established traits—such as making Riggs' humor stem from his coping mechanisms rather than feeling disjointed—and streamline redundant elements like the death wish motif to create a more focused, authentic narrative that enhances audience engagement and thematic depth.
> Go to Logic & Inconsistencies

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
The writer's voice excels in blending gritty realism with dark humor and emotional depth, but to elevate the script, focus on ensuring that high-action sequences don't overshadow introspective moments, allowing for more nuanced character development. By refining the balance between violence and vulnerability, the writer can create a more cohesive narrative that deeply resonates with audiences, drawing them into the characters' inner worlds without losing the script's kinetic energy.
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Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
The screenplay effectively captures character dynamics and blends humor with serious themes, but to refine its craft, focus on making dialogue more authentic and layered with subtext, deepening character motivations for greater emotional resonance, and tightening pacing to sustain tension across action and quieter moments. By addressing these areas, the writer can enhance the script's overall impact and storytelling depth.
> Go to Writer's Craft
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
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Tropes
Highlights common or genre-specific tropes found in the script.
> Go to Tropes
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
The script's world-building effectively uses Los Angeles' contrasts to mirror character arcs and thematic elements, but to enhance craft, focus on integrating these elements more seamlessly into character development. For instance, amplifying the irony of holiday settings against violence could deepen emotional resonance and avoid clichés, ensuring that the physical and cultural environments actively propel character growth rather than serving as mere backdrops, ultimately making the narrative more immersive and impactful.
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Correlations

Identifies patterns in scene scores.

Key Suggestions:
The scene patterns analysis highlights strengths in emotional depth and dialogue, but reveals opportunities for refinement in tone balance and pacing. To elevate the script, focus on varying emotional tones to avoid predictability, integrate more subtle character development outside of confrontations, and tighten reflective scenes to maintain momentum, ensuring a more dynamic and engaging narrative that prevents audience disengagement and enhances overall craft.
> Go to Correlations
Loglines
Presents logline variations based on theme, genre, and hook.
> Go to Loglines