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Yoeshua

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    "DIE HARD"

    FADE IN

    1 405 FREEWAY - LOS ANGELES - EARLY EVENING 1

    Christmas tinsel on the light poles. We ARE LOOKING east past
    Inglewood INTO the orange grid of L.A. at night when suddenly
    we TILT UP TO CATCH the huge belly of a landing 747 -- the
    noise is deafening.

    2 INT. 747 - PASSENGERS - SAME 2

    The usual moment just after landing when you let out that sigh
    of relief that you've made it in one piece. As the plane TAXIS
    to its gate, they stir, gather personal belongings.

    3 ON JOHN MCCLANE 3

    mid-thirties, good-looking, athletic and tired from his trip.
    He sits by the window. His relief on landing is subtle, but
    we NOTICE. Suddenly, he hears --

    SALESMAN'S VOICE
    You don't like flying, do you?

    McClane turns, looks at the Babbit clone next to him. Caught,
    he tenses, holds his armrests in exaggerated fear.

    MCCLANE
    No, no, where'd you get that idea?

    SALESMAN
    (smiling)
    Ya wanna know the secret of successful
    air travel? After you get where you're
    going, ya take off your shoes and socks.
    Then ya walk around on the rug barefoot
    and make fists with your toes.

    MCCLANE
    Fists with your toes.

    SALESMAN
    Maybe it's not a fist when it's your
    toes...I mean like this...work out
    that time zone tension.
    (demonstrating)
    Better'n a cup of coffee and a hot
    shower for the old jet lag. I know
    it sounds crazy. Trust me. I've
    been doing it for nine years.

    The plane stops. Passengers rise, start to take down overhead
    luggage. McClane does this, but as he opens the door above,
    the businessman BLANCHES seeing:

    3-A HIS P.O.V. - MCCLANE'S BARETTA PISTOL 3-A

    Peeking out from his jacket.

    3-B BACK TO SCENE 3-B

    Recognizing the look, McClane smiles reassuringly.

    MCCLANE
    It's okay.
    (showing badge)
    I'm a cop.
    (pause)
    Trust me. I've been doing it for
    eleven.

    The businessman relaxes, moves off. McClane now wrestles down
    the biggest Teddy Bear FAO Schwartz had to offer. Balancing
    this, he moves down to another overhead, takes out a topcoat
    and an overnighter. Barely managing all this, he turns,
    COLLIDING WITH:

    3-C A PRETTY STEWARDESS 3-C

    She bumps noses with the bear, gives a look.

    STEWARDESS
    (smiling, about the bear)
    Maybe you should have bought her a
    ticket.

    MCCLANE
    Her?

    He scrutinizes the nether regions of the bear, shrugs.

    MCCLANE
    She doesn't complain.

    STEWARDESS
    (eying him)
    Neither would I.

    McClane smiles, with just enough of a sigh to know he's as
    wistful about things-that-might-have-been as she is...moves
    down the aisle.

    CUT TO:

    4 INT. THE NAKATOMI BUILDING (LOS ANGELES) - EVENING 4

    CLOSE ON A bottle of Dom Perignon as the cork explodes across
    a large office floor decorated for Christmas. A Japanese man,
    mid-fifties standing on a desk holds up the bottle triumphantly
    and looks out at an adoring audience of junior executives and
    office personnel. He is JOSEPH TAKAGI, Sr V.P. of Sales for
    Nakatomi, a multinational corporation.

    TAKAGI
    Ladies and gentlemen...I congratulate
    each and every one of you for making
    this one of the greatest days in the
    history of the Nakatomi corporation...

    In the b.g., obviously still at work, an attractive BUSINESSWOMAN
    in her mid-thirties, studying a computer printout, heads toward
    her office. Falling into step with her is HARRY ELLIS,
    thirty-seven, V.P. of Sales. Well-dressed, with stylish,
    slicked-back hair, he looks and acts very smooth.

    ELLIS
    What about dinner?

    WOMAN (HOLLY)
    Harry, it's Christmas Eve. Families...
    Stockings...chestnuts...Rudolph and
    Frosty...those things ring a bell?

    She turns into:

    5 HER OFFICE 5

    Her name is HOLLY GENNARO MCCLANE, though the nameplate on her
    door stops after the first two. She puts the printout down
    on her secretary's desk.

    ELLIS
    (in reply)
    I was thinking more of roaring
    fireplaces...mulled wine and a nice
    brie...

    Holly ignores the come-on, turns to her secretary.

    HOLLY
    Ginny, it's 6:40, you're making me
    feel like Ebeneezer Scrooge. Go on,
    join the party, have some champagne.

    Ginny slowly manipulates herself out of her seat. She is
    enormously pregnant.

    GINNY
    (grateful)
    Thanks Ms. Gennaro.
    (worried)
    Do you think the baby can handle
    a little sip?

    HOLLY
    (eyeing her)
    Ginny, that baby's ready to tend bar.

    ELLIS
    (not giving up)
    How about tomorrow night?

    Holly just points to the door. He follows Ginny out, clearly
    not giving up. Just then the party on Holly's phone picks up
    and we:

    INTERCUT:

    6 INT. NICE HOUSE IN SANTA MONICA 6

    where a five-year old LUCY MCCLANE races her YOUNGER BROTHER
    to the phone, winsthe wrestling match, and answers with a sense
    of importance. An Xmas tree is in the b.g.

    LUCY
    McClane residence. Lucy McClane
    speaking.

    Holly suddenly smiles. It is the first time we've seen her
    smile and it speaks volumes about the person hidden under a
    tough business exterior.

    HOLLY
    (with affection)
    Hello, Lucy McClane. This is your
    mother.

    She looks up and watches Ellis leave. He "shoots" her with a
    "catch ya later" wink.

    LUCY
    Mommy! When are you coming home?!

    HOLLY
    Soon. You'll be in bed when I get
    there, though.

    LUCY
    Will you come say 'good night'?

    HOLLY
    Don't I always, you goose?
    (enjoying Lucy's giggle)
    Now put Paulina on the line, and
    no searching the house for presents!

    LUCY
    (caught)
    I didn't look in the front closet
    under the steps! Is Daddy coming
    home with you?

    JOHN, JR.
    (hearing this, jumping up
    and down)
    Yeah! Daddy! Daddy! Daddy!
    (on second thought)
    And a Captain Power!

    HOLLY
    (a little tightly)
    Well, we'll see what Santa and Mommy
    can do. Goose, put Paulina on, okay?

    Lucy hands the phone to a young Salvadorian woman, PAULINA,
    the housekeeper.

    PAULINA
    Hello, Mrs. Holly. You coming home
    soon?

    HOLLY
    I'm working on it.
    (beat)
    Did Mr. McClane call? *

    PAULINA
    No ma'am.

    Holly hides a trace of disappointment.

    HOLLY
    Well...maybe there wasn't time before *
    the flight. You should probably make
    up the spare room just in case.

    PAULINA
    (smiling)
    Yes, Mrs. Holly. I do that already. *

    Holly's smile comes through again.

    7 INT. LAX - EVENING 7

    McClane, wearing his wool topcoat and carrying the biggest
    stuffed animal FAO Schwartz had in stock and his hangup bag,
    comes down the American Airlines ramp and into the terminal.
    He avoids one near-collision involving his stuffed animal, an
    act which drives him into another fender bender with a CUTE
    GIRL who looks like she's ready for high tide at Zuma. As she
    smiles, weaves onward, McClane looks at his own Arctic gear
    and then the girl as she kisses a similarly garbed boyfriend.

    MCCLANE
    (sotto, to himself)
    California.

    He looks around the terminal at:

    7-A HIS P.O.V. - TERMINAL 7-A

    FAMILY REUNIONS are going on all around his as grandparents
    greet grown children and their children, YOUNG WIVES greet
    uniformed SOLDIERS, our Babbit businessman greets a pleasant
    wife and two pleasant kids. It's all very traditional, very
    touching and not the least bit corny.

    7-B BACK TO SCENE 7-B

    McClane watches, moved by the sight, then looks around the
    waiting area, just on the chance his family might be waiting.
    Instead he spots a thin, gangling black kid, ARGYLE, in an
    ill-fitting chauffeur's uniform. As he waits he beats out a
    rhythmn on a "Nakatomi Corporation" card with J. McCLANE written
    on it in magic marker. McClane pauses in front of him, unsure.

    MCCLANE
    I'm John McClane.

    ARGYLE
    (introducing himself)
    Argyle. I'm your limo driver. Hey,
    nice bag.

    He turns and starts walking. McClane paces him, still juggling
    bag and giant animal.

    MCCLANE
    Argyle. Don't you take this stuff?

    ARGYLE
    (stops)
    Do I? I'm sorry. You're gonna have to
    help me, man. This is my first time
    driving a limo.

    MCCLANE
    That's okay. This is my first time
    riding in one.

    CUT TO:

    8 WITH THE LIMO - DUSK 8

    TILT UP from the Lincoln emblem on the car.

    Both Argyle and McClane are in the front seat.

    ARGYLE
    Just kick back and relax, man. We
    got everything you need: CD, CB,
    TV, VHS, telephone, full bar.

    He looks in the back seat, which is occupied by the bear.

    ARGYLE
    If your friend is hot to trot...I
    know a couple of mama bears.
    (turning to McClane)
    ...Or is he married?

    MCCLANE
    Married.

    McClane tries to get comfortable, scowls as a RUSTLING NOISE
    reveals wrappers and styrofoam from Taco Bell. He scowls at
    Argyle.

    ARGYLE
    The girl was off today. Hey, I
    didn't expect you to sit up front.
    (back to the topic)
    So, your lady live out here?

    MCCLANE
    The past six months.

    ARGYLE
    (thinking about that)
    Meanwhile, you still live in
    New York?

    MCCLANE
    You're nosey, you know that, Argyle?

    ARGYLE
    Hey, I'm sorry. When I was a
    cabdriver, see, people expected a little
    chit chat, a little eccentricity and
    comaraderie, I forgot how stuck up you
    limo guys were, so excuse me.

    MCCLANE
    (amused)
    It's okay, it's okay.

    ARGYLE
    (instantly)
    So, you divorced of what?

    McClane gives up.

    MCCLANE
    She had a good job, it turned into
    a great career.

    ARGYLE
    But meant her moving here.

    MCCLANE
    Closer to Japan. You're fast.

    ARGYLE
    So, why didn't you come?

    MCCLANE
    'Cause I'm a New York cop who used
    to be a New York kid, and I got six
    months backlog of New York scumbags
    I'm still trying to put behind bars.
    I don't just get up and move.

    ARGYLE
    (to the point)
    You mean you thought she wouldn't
    make it out here and she'd come
    crawling on back, so why bother to
    pack?

    McClane grins, he like Argyle even if he is direct.

    MCCLANE
    Like I said, Argyle...you're fast.

    ARGYLE
    (popping in a cassette)
    Mind if I play some tunes?

    A hard RAP SONG blasts from the speakers.

    MCCLANE
    How 'bout some Christmas music?

    ARGYLE
    That is Christmas music.

    And damned it if isn't, the Fat Boys of Run DMC doing a
    revisionist number on WHITE CHRISTMAS or something. McClane
    gives up, looks out the window.

    9 HIS P.O.V. 9

    Convertibles with Christmas trees in their back seats,
    Time/Temperature signs which reads: 69 degrees, palm trees
    trimmed in Christmas lights, intermittent West side token
    "Happy Chanukahs"...it is clear that Christmas L.A. style has
    its own unique style.

    10- OUT OUT 10-
    11 11

    11-A THE LIMO - CENTURY CITY 11-A

    TILT DOWN FROM one of the stars of this film, the well-lit,
    impressive and spanking-new NAKATOMI BUILDING. The limo pulls
    up, parks, and Argyle gets out. McClane lets himself out,
    which is fine because Argyle doesn't remember he's supposed to
    do it. They both go to the rear of the vehicle.

    12 EXT. NAKATOMI BUILDING - NIGHT 12

    Argyle climbs out of the limo and stops by the trunk.

    ARGYLE
    So, you go on upstairs to the party,
    your lady sees you, you run into each
    other's arms. Music comes up, you
    live happily ever after, that it?

    MCCLANE
    It's corny, but I could live with it.

    ARGYLE
    What is it don't work out that way?
    Where you gonna stay?

    MCCLANE
    I'll find someplace.

    He looks up at the highrise lit by huge spotlights, then
    back at Argyle who's made no attempt to open the trunk.

    ARGYLE
    Tell you what. I'll pull into the
    parking garage and wait. You score
    with your wife give me a call on the
    car phone and I'll leave your bags
    inside at the desk. You strike out...
    I'll get you to a hotel.

    He hands McClane a business card with the number on it.

    MCCLANE
    (taking the number)
    You're all right, Argyle.

    ARGYLE
    Just remember that when you sign
    for the tip.
    (pointing to the
    building)
    They're paying for it, so don't be
    shy.

    McClane grins, heads inside.

    13 INT. NAKATOMI LOBBY - NIGHT 13

    Beautiful and -- on first glance -- deserted. Finally a
    SOUND in the sterile lobby reveals the presence of a
    SECURITY GUARD hidden until now behind a massive desk.
    McClane goes there, signs in.

    MCCLANE
    Holly McClane?

    The Guard points to a prominent touch screen computer console.

    GUARD
    Just type it in there.

    McClane is confused for a moment, then he moves to the screen.
    He gives the Guard a look...the Guard raises his eyebrows as
    if to say give it a try.

    13-A SCREEN - CLOSER 13-A

    McClane types, "McClane, Holly". Pause. The screen replies,
    NO SUCH EMPLOYEE LISTED.

    13-B MCCLANE 13-B

    Frowns...thinks. Simultaneously inspired and suspicious, he
    types again.

    13-C THE SCREEN 13-C

    McClane types, GENNERO, HOLLY. This time the screen CHANGES,
    shows an elevation of the building and then a floor plan of the
    30th floor with Holly's office BLINKING. *

    13-D BACK TO SCENE 13-D

    MCCLANE
    Cute toy.

    GUARD
    Yeah. When you have to take a leak
    it'll help you find your zipper.

    MCCLANE
    Thirtieth floor... *

    GUARD
    (pointing)
    Take the express elevator and get
    off at the noise.

    McClane nods, moves off. He moves to the elevators, and as he
    does his experienced eye takes in:

    13-E ANOTHER SECURITY GUARD 13-E

    Patrolling a different area.

    13-F SEVERAL HI-TECH CAMERAS AND SENSORS 13-F

    which are cleverly worked into the decor of the lobby.

    13-G BACK TO SCENE 13-G

    McClane reacts with bored professionalism, NODS to the guard.

    MCCLANE
    Lots of hardware...

    The guard shrugs. McClane gets in the elevator.

    14 INT. ELEVATOR - NIGHT 14

    McClane hits "30" and REACTS to the hyper-powered SPEED with
    which he rises. He rotates his head, getting out the travel
    cricks.

    As he approaches the 30th floor we hear a tremendous THUMPING,
    THROBBING NOISE. McClane stops and listens before he
    realizes -- it's the party. As the doors open the noise
    ATTACKS us.

    15 30TH FLOOR - SAME 15

    McClane moves around the edge of the party, gradually
    spiraling inward. He grabs a glass of Mimosa champagne punch
    from a passing tray, sips...scowls. Spotting open beers in
    an ice bucket, he tosses the punch into a potted plant, even
    burying the plastic glass. Sipping the beer, he moves through
    the dense party. People he doesn't know throw streamers over
    him.

    A WOMAN kisses him. He grins. A MAN kisses him.

    MCCLANE
    (to himself, shaking
    his head)
    California...

    Finally he queries a DANCING WOMAN. The MUSIC drowns out their
    words but she nods, points off in some generic direction.

    McClane heads that way, cuts around a Christmas tree, loses
    his bearings. He sees:

    15-A TAKAGI 15-A

    who has an air of authority. McClane goes up to him.

    MCCLANE
    Excuse me, I'm looking for --

    TAKAGI
    Holly Gennero?

    MCCLANE
    Yeah. How'd you know?

    TAKAGI
    I've spent half my life on airplanes, *
    I can recognize someone who just
    got off one.
    (shaking hands)
    I'm Joe Takagi, Mr. McClane. I have
    ...something to do with this company.

    MCCLANE
    So I've heard.

    Takagi smiles, leads the way. As they approach Holly's office
    door, McClane notices the name there is -- again -- "Gennero".

    TAKAGI
    Holly went to the Vault room to FAX
    some documents...she should be back
    any...

    16 HOLLY'S OFFICE 16

    Ellis is behind the desk. He's SNIFFLING and just as they
    come in he SWEEPS the back of the slick desktop with his hand.

    Both McClane and Takagi catch on...but Takagi tries to hide
    his awareness.

    ELLIS
    Ah...hi...I just had to make a quick
    call, and this was the nearest phone...

    TAKAGI
    (as Ellis rises)
    Ellis, this is John McClane...
    (with meaning)
    Holly's policeman?
    (to McClane)
    Ellis is in charge of International
    Acquisitions.

    MCCLANE
    (shaking hands with Ellis)
    That explains the recent deal with
    Bolivia.

    Ellis REACTS, runs a checking finger under his nose.

    MCCLANE
    (sotto)
    Relax, Ellis. I'm off duty.

    TAKAGI
    (eager to change the
    subject, to McClane)
    Can I get you anything? Food? Cake?
    Watered down champagne punch?

    MCCLANE
    (grinning)
    I'm fine.
    (looking through the
    glass)
    You throw quite a party. I didn't
    know they had Christmas in Japan.

    TAKAGI
    Hey, we're flexible. Pearl Harbor
    didn't work out, we got you with
    tape decks.

    McClane laughs. He likes this guy.

    ELLIS
    Actually, it's kind of a double celebration. *
    We closed a pretty big deal today and a lot
    of it was due to Holly.

    The door OPENS. Holly comes inside.

    HOLLY
    All set, Joe. The contracts went
    over the wire, and --
    (surprised)
    John...!

    16-A MCCLANE AND HOLLY 16-A

    A moment. Does the sound of the party stop for him? We know
    it. For her? It's more cryptic. We sure hope so.

    HOLLY
    (recovering)
    I was hoping you made that flight.

    JOHN
    (quietly)
    I was hoping you were hoping that.

    She laughs, kisses him on the cheek. Ellis notes the awkwardness.

    TAKAGI
    (to McClane)
    You wife's made for this business.
    She know how to drive a hard bargain.

    MCCLANE
    Yeah. I remember our first date.

    ELLIS
    Show him the watch.

    As she hesitates:

    ELLIS
    Go on, show him. What're you,
    embarrassed?
    (to McClane)
    A little token of our appreciation
    for all her work.

    He takes Holly's wrist, holds it up. McClane smoothly takes
    the wrist away from Ellis, looks at the watch.

    MCCLANE
    Nice, but one of us is three hours
    out of sync. I think it's me.
    (to Holly, pointedly)
    Is there a place I can wash up?

    HOLLY
    (happy for the excuse)
    Sure. Follow me.

    They go out. Alone, Takagi's look at Ellis shows his
    disapproval of certain snow at Christmas.

    CUT TO:

    17 EXT. NAKATOMI - NIGHT 17

    An Emory freight truck turns off Olympic into the underground
    parking garage of Nakatomi.

    18 INT. PARKING GARAGE 18

    It goes down the ramp and passes Argyle's black limo. The
    driver's seat is EMPTY.

    19 INT. LIMO - SAME 19

    Argyle sits in the back seat hidden from the outside world by
    the tinted rear windows. He is making a drink from the bar
    with the TV on and his rap music blasting from the cassette
    player, oblivious to the truck passing behind him.

    20 INT. PARKING GARAGE - SAME 20

    The Emory truck stops in front of the service elevator on the
    next level down. As the truck idles, the uniformed driver
    makes a note on his clipboard.

    21 INT. ELLIS' OFFICE - NIGHT 21

    TILT UP FROM McClane's BARE FEET. He is clenching and
    unclenching his toes.

    MCCLANE
    (surprised, actually feeling
    tension decline)
    Son-of-a-bitch. It works.

    Holly sits on the desk here, watches him remove his jacket, tie
    shirt, etc. Begin to wash up in the private bath.

    HOLLY
    What are you doing?

    MCCLANE
    It's a long story. You know, I
    think that Ellis has his eye on you.

    HOLLY
    That's okay...
    (pause)
    ... I have an eye on his private
    bathroom.

    McClane's face shows his relief (or rather, his attempt not
    to show any).
    *

    HOLLY
    So, where are you staying? This *
    all happened so fast I didn't even
    ask you on the phone.

    McClane finishes drying his face and steps to the bath doorway.

    MCCLANE
    Well, Cappy Roberts retired out
    here a couple years ago. He said I
    could bunk with him.

    HOLLY
    Oh...Where does he live?

    MCCLANE
    Ramona...no, Pomona, that's it.

    HOLLY
    Pomona! You'll be in the car the
    whole time...Look, let's make this
    easy. I have a spare bedroom. It's
    not huge, but the kids would love to
    have you at the house.

    McClane fixes her with a look.

    MCCLANE
    They would, huh?

    HOLLY
    (beat; honest)
    I would too.
    *
    They lock eyes for a moment, but it's an intense moment that
    says a lot about how they still feel about each other.

    Just then a man and a woman, both a little tipsy, open the
    door to the office, see that it's occupied and beat a hasty
    retreat. The interruption temporarily dents the mood. Holly
    tries to smile. But for McClane it's the last frustration.

    HOLLY
    ...I've missed you. *

    MCCLANE
    Especially my name. You must miss
    it every time you write a check. When
    did you start calling yourself
    'Ms. Gennero'?

    HOLLY
    (caught)
    This is a Japanese company, you know?
    They figure a married woman, she's on
    the way out the door...

    MCCLANE
    Sure. It's unnerving. I remember
    this one particular married woman,
    she went out the door so fast there
    was practically a jetwash...I mean,
    talk about your wind chill factor...

    HOLLY
    Didn't we have this same conversation
    in July? Damn it, John, there was
    an opportunity out here -- I had to
    take it --

    MCCLANE
    No matter what it did to our marriage -- ?

    HOLLY
    My job and my title and my salary did
    nothing to our marriage except change
    your idea of what it should be.

    MCCLANE
    Oh, here it comes. One of those
    'meaningful relationship conversations.'
    I never should've let you get those
    magazine subscriptions --

    HOLLY
    You want to know my idea of a marriage?
    It's a partnership where people help
    each other over the rough spots --
    console each other when there's a
    down...and when there's an up, well,
    hell, a little Goddamn applause or
    an attaboy wouldn't be too bad.
    (quietly)
    I needed that, John.
    (pause)
    I deserved that.

    There's a clumsy pause as if she's almost challenging him to
    say...something but he sets his jaw, says nothing. Just then
    the door opens and Ginny leans inside.

    GINNY
    Miz Gennero? Mr. Takagi is looking
    for you...he wants you to say something
    to the troops...

    HOLLY
    Thanks, Ginny. I'll be a second.
    Oh, this is --

    MCCLANE
    (mock bright 'radio' voice)
    Hi. John Gennero here. I'm the
    sensitive and supportive man of the
    eighties.

    Ginny looks puzzled, goes out. Holly sighs, moves to the
    door.

    HOLLY
    I'll be a few minutes. Wait here --

    MCCLANE
    Don't I always?

    She's gone. Immediately, he slaps his forehead, contrite.

    MCCLANE
    (to himself)
    Schmuck!

    22- OUT OUT 22-
    23 23

    24 INT. BUILDING LOBBY - SAME TIME 24

    The Guard at the front desk notices the Emory truck on his
    monitor. The Guard continues to watch the Emory truck and
    only half notices as a Mercedes pulls up in front of the
    building and two extremely well-dressed BUSINESSMAN (late
    twenties) climb out and start up the stairs for the door. As
    they cross the lobby to the Guard's table to sign in, we hear
    their conversation.

    MAN #1 (THEO)
    (animatedly)
    ...So, Kareem rebounds -- listen,
    this is a great play -- feeds Worthy
    on the break, over to A.C., to Magic,
    back to Worthy in the lane and --

    Suddenly the other man pulls out a Walther pistol with a
    silencer and aims it at the Guard's forehead. Before the
    Guard can react he pulls the trigger.

    THEO
    (dryly)
    Boom...two points.

    (The speed with which the murder takes place sets the tone
    for the rest of the action.) The killer moves behind the
    desk, stepping over a small pool of blood from the Guard.

    His name is KYLE, big, with long blond hair like a rock
    drummer. Karl takes off the silencer and looks at the video
    monitor of the Emory truck. The first man, Theo, opens his
    briefcase, takes out a portable CB radio and speaks into it.

    THEO
    We're in.

    25 ON THE SCREEN 25

    the driver nods at the security camera as several men climb out of
    the rear of the van and begin unloading wooden crates by the
    service elevator.

    26 INT. ELLIS' OFFICE - NIGHT 26

    McClane looks at all the lavishness around him and picks up a
    phone by the toilet. He opens his wallet and takes out the
    phone number Argyle have him. A photo of his children stops
    him.

    It's of Holly, the two children and himself in happier days:
    Six months ago, before Nakatomi came calling to Holly's door.
    McClane flips it over. On the back in crude but painstaking
    hand of a five-year-old it says: WE MISS YOU, DADDY. LOVE
    LUCY (and in more primitive letters) JOHN.

    McClane returns the photo to his wallet, dials the number.

    26 INT. BUILDING OPERATIONS CONTROL ROOM 26

    Theo enters the small control room and comfortably sits behind
    a maintenance keyboard. Whistling a vaguely familiar tune, he
    TYPES in some commands and locks down the passenger elevators
    up to the 30th floor. Then with several more computer commands,
    systematically causes:

    27 THE HEAVY STEEL GATES TO THE PARKING GARAGE CLOSE 27

    28 THE ESCALATORS TO THE GARAGE COME TO A STOP 28

    29 OUT OUT 29

    30 CONTROL ROOM - SAME 30

    Theo finishes typing and disconnects the keyboard and pulls out
    the wires from beneath the panel.

    31 INT. LOBBY - SAME 31

    The doors to a service elevator open TO REVEAL HANS GRUBER,
    impeccably dressed, lean and handsome, he steps out into the
    lobby like he owns the building -- and in a way he does.

    Theo steps to the door of the control room and tosses Hans a
    COMPUTER CARD.

    Hans goes to the front door, waves the card over a magnetic
    plate. An LED BLINKS and the door LOCKS with a THUD.

    Hans looks out at the street. Appropriately enough, "not a
    creature is stirring." Century City is quiet.

    32- OUT OUT 32-
    35 35

    35-A LOBBY - QUICK CUTS 35-A

    An elevator opens REVEALING TEN MORE MEN, all armed with
    Kalashnikov machine guns are carrying canvas kit bags. One
    of them, EDDIE, a rugged American in his twenties, goes to
    the dead guard and immediately begins changing into his cloths.

    Meanwhile:

    A) Karl takes a tool case from the elevator and joins his
    brother TONY, first playfully grabbing him. They head
    for the basement stairwell;

    B) Theo leaves the control room and nods to Hans.

    C) Eddie finished adjusting buttons and snaps on his
    pilfered uniform, takes his position behind the front desk.

    36 HANS 36

    looks at his watch and seems pleased. He steps into the service
    elevator with the others and presses the button for the 30th
    floor. The entire sequence has taken maybe sixty seconds.

    37 INT. ELLIS' BATHROOM - 30th FLOOR - SAME 37

    McClane is still barefoot, his pant legs now rolled up above
    his ankles. He stretches his toes again. Damn, it works. He
    lights up a new Marlboro, dials a number on the (bathroom)
    phone.

    38 INT. BUILDING BASEMENT - PHONE ROOM 38

    A large sign says: PACIFIC BELL EMPLOYEES ONLY. Inside Tony
    stands in front of an intimidating matrix of phone lines -- but
    what he has in mind won't require a doctorate in Electrical
    Engineering. Karl comes over, gives his an elder brother's
    punch on the arm, points out what to do. Together they focus
    on four CPV plastic conduits which run out of the main panel
    over their heads. Tony nods. Opens a case REVEALING a
    compact electric chainsaw.

    39 INT. ELLIS' BATHROOM - RESUME 39

    MCCLANE
    (on phone)
    Argyle...?

    40 INT. LIMO 40

    Argyle is reclining on the seat. The music is on so loud that
    it is nearly impossible to hear.

    ARGYLE
    Hey, John, what's the word on you
    and your lady?

    MCCLANE'S VOICE
    The vote's not in yet.

    41 INT. PHONE ROOM - SAME 41

    Karl cuts through the four tubes one at a time.

    42 INT. ELLIS' BATHROOM - SAME 42

    McClane on the phone.

    ARGYLE'S VOICE
    (mocking)
    'Vote's not in yet?' What's that
    supposed to mean.

    MCCLANE
    What do you want, 'All My Children'?
    We're making progress. After I get my
    foot out of my mouth, we'll really be
    cooking, and then I can --

    He stops and gently taps the phone cradle. No dial tone.

    43 INT. LIMO 43

    Argyle looks at the phone.

    ARGYLE
    What?...Mr. Mac, you there?

    He turns down the music but there is on one on the line.

    ARGYLE
    (to himself)
    Well, call me back, John. You got
    the number.

    He hangs up and turns the volume back up.

    44 ELLIS' OFFICE 44

    McClane hangs up the original phone and then tries the other
    one on the desk. It, too, is dead.

    45 INT. SERVICE ELEVATOR 45

    Hans and the others approaching the 30th floor. As they grow
    closer, we hear the noise of the speakers growing louder and
    louder. The men cock their weapons and brace themselves as the
    car stops and the elevator doors open. ON THE SOUND OF GUNSHOTS
    AND SCREAMS WE:

    CUT TO:

    46 INT. ELLIS' OFFICE 46

    McClane grabs his shoulder harness off the back of the chair,
    moves quickly to the doorway. He looks down the hall.

    47 MCCLANE'S P.O.V. 47

    Two terrorists, FRANCE and FRITZ, armed with M-5 machine guns
    searching the offices on the hall one by one. They open a door,
    look in from the hallway, and move on quickly to the next.

    They are four offices away and moving fast.

    McClane looks across the corridor and sees the stairwell door
    -- too far to reach without being seen.

    48 MCCLANE 48

    steps back, throws off the safety on his Beretta and braces
    himself. He opens the door, peers through a crack at:

    49 HALLWAY - FRANCE AND FRITZ 49

    QUICK CUTS as McClane's eyes SCAN their weapons...he's totally
    outgunned, and he knows it.

    Franco and Fritz reach the office just before Ellis' and throw
    open the door REVEALING the man and woman who interrupted Holly
    and McClane a few minutes before, now in the throes of
    passionate lovemaking on the desk. The two terrorists smile
    at each other, then enter the office.

    A moment later the man, (trying desperately to pull up his
    pants) and the woman (buttoning her blouse) are pushed out
    into the hall and toward the larger group by Fritz. The other
    terrorist, Franco, goes to Ellis' office and opens the door.

    It is...empty.

    50 INT. STAIRWELL - SAME 50

    CLOSE ON McClane's bare feet padding quickly up the concrete
    stairs, two at a time. We FOLLOW him up, then out onto the:

    50-A 31th FLOOR 50-A

    This is the mezzanine floor immediately above the main
    Nakatomi lobby. McClane sees Theo and KRISTOFF wheeling carts
    of equipment. McClane ducks back into the stairwell, he runs
    up another flight and out onto:

    51 UNFINISHED FLOOR 51

    Eventually it will be one large secretarial pool, but only a
    portion is completed. Half-finished partitions and office
    furniture in its original plastic wrappings are everywhere.
    One end has a few lonely finished working areas.

    McClane moves quickly to a desk and picks up a phone. It's
    out.

    MCCLANE
    Shit...

    He looks out the window at:

    51-A NEIGHBORING BUILDING - MCCLANE'S P.O.V. 51-A

    A high-rise apartment building a half-block away sparkles with
    lights. McClane stares at a PRETTY GIRL in her bedroom. She's
    wearing drop dead underwear right out of the Victoria's Secret
    catalog. As we watch, she flops down on her bed, and with
    one long leg in the air, effortlessly dials
    a call on her high-tech phone. It seems so easy.

    51-B BACK TO SCENE 51-B

    Frustrated, he watches this, knits his brow.

    MCCLANE
    Think...

    52 INT. 30th FLOOR (HOSTAGE FLOOR) - SAME 52

    The employees have been herded to the center of the room where
    the desks have been pulled back. Many people are whimpering.

    52-A HOLLY 52-A

    She looks around the room for McClane. She's so intent on
    this that she doesn't see one TERRORIST waving her forward.
    Exasperated, he SHOVES her. Her glare at him shows us her
    mettle.

    52-B WIDER 52-B

    As the employees are bunched together, Ellis seeks out Holly.
    He's clearly scared but trying to fake courage. He pats her
    hand "reassuringly."

    Hans steps up on top of a desk and looks over the group. He
    reaches into a pocket...several people CRINGE...but what he
    comes out with is a Bottega Venata pocket notebook. He checks
    his own scribblings like a dais speaker.

    HANS
    (soothing, in control)
    Ladies and gentlemen, due to the
    Nakatomi Corporation's legacy of
    greed around the globe, it is about
    to be taught a lesson on real power.
    You...will be witnesses.
    If our demands are not met, however --
    (sad smile)
    -- You may become participants instead.
    (beat, checking notes)
    Now, where is...'Takagi'? Where is
    the man who...
    (slight smile)
    ...used to be in charge here?

    Takagi is shoved forward. He's worried but far from cowed.
    Hans steps towards him. Extends a hand.

    HANS
    (quite civil)
    Mr. Takagi. How do you do. My
    name is Hans Gruber.

    Takagi is confused by his charm. Hans waves politely in the
    direction of an elevator and with an armed escort takes the
    executive away. CAMERA ADJUSTS to show Holly, concerned.

    56 INT. STAIRWELL - 33rd FLOOR - SAME 56

    McClane pauses outside the stairwell door to the 33rd floor,
    he presses the handle and cracks the door open TO REVEAL a
    computer floor. The computer machinery drones on under the
    lights behind plate glass windows. McClane quietly closes
    the door and moves to another floor.

    MCCLANE
    (mumbling to himself)
    32 construction...33 computers...

    57- OUT OUT 57-
    58 58

    59 INT. SERVICE ELEVATOR - NIGHT 59

    Hans, Takagi, Karl and Tony. Riding silently. Hans alone
    seems relaxed. He whistles. We recognize it as a snatch of
    Wagner.

    HANS
    Nice suit. John Philips...London?

    Takagi stares at him, speechless.

    HANS
    (smiles)
    I have two myself.
    (beat, as he exits:)
    I'm told Arafat shops there too...

    60 INT. STAIRWELL 60

    McClane starts to open the stairwell door to the Machine Floor
    when a NOISE above him gets his attention. He moves silently
    up one flight to the roof. Quietly, he cracks the door and
    looks out onto a Machine Floor on the lower level of the roof.

    61 MCCLANE'S P.O.V. 61

    Three terrorist, JAMES, ULI and HEINRICH, are unpacking the
    wooden crates we saw in the garage from the service elevator.
    It's not clear what they're doing but it seems very military
    like and ominously defensive. Heinrich POINTS up to the
    ceiling and says something in German. The others nod. Heinrich
    starts to turn towards the CAMERA and:

    62 MCCLANE 62

    closes the door and slips back down the stairs.

    63 INT. CONFERENCE ROOM - BOARD ROOM FLOOR - NIGHT 63

    Hands enters, looks around. *

    HANS *
    And when Alexander saw the breadth
    of his domain, he wept. For there
    were no more worlds to conquer.
    (to Takagi)
    The benefits of a classical education.

    Hans admired a scale model of a bridge. Behind him are *
    photographs of the gorge where the bridge will be constructed.
    Karl and Tony listen. Takagi watches.

    HANS
    It's beautiful. I always enjoyed
    models as a boy. The exactness, the
    attention to every foreseeable detail...
    perfection.

    TAKAGI
    (defensively)
    This is what this is about? Out
    building project in Indonesia?
    Contrary to what you people think,
    we're going to develop that region...
    not 'exploit' it.

    Hans straightens, looks hard at Takagi.

    HANS
    I believe you.
    (smiling)
    I read the article in Forbes. *

    Takagi looks confused. Hans puts a friendly arm around Takagi's
    shoulders and guides him into the adjacent board room where
    Theo types in commands onto a built-in computer console.

    HANS
    Mr. Takagi, we could discuss
    industrialization of men's fashions
    all day, but I'm afraid my associate,
    Mr. Theo, has some questions for you.
    Sort of fill-in-the blanks questions
    actually...

    JUMP CUT:

    64 A COMPUTER SCREEN SPITS OUT: 64

    NAKATOMI CORPORATION.
    BOARD WORKSTATION.
    ENTER CENTRAL COMPUTER CODE KEY _ _ _ _.

    65 THEO 65

    sits fingers poised over the keyboard. Hans sits opposite.
    Takagi stands like the accused at the foot of the table, has
    just read the screen, blurts:

    TAKAGI
    I don't have that code...!
    (beat; to Hans)
    You broke in here to access out
    computer?!? Any information you
    could get -- they wake up in Tokyo
    in the morning, they'll change it!
    You won't be able to blackmail our
    executives or threaten --

    Hans barks him to silence:

    HANS
    SIT DOWN!

    Takagi complies. Hans is abruptly compassionate and quiet.

    HANS
    Mr. Takagi...I'm not interested in your
    computer.
    (beat)
    I'm interested in the 640 million dollars
    in negotiable bearer bonds you have in
    you vault.

    ON Takagi's reaction.

    HANS
    Yes...I know about them. The code
    key is a necessary step in accessing
    the vault.

    TAKAGI
    You want...money? What kind of
    terrorists are you?

    HANS
    (amused)
    Who said we were terrorists?

    65-A MCCLANE - ENTERING THIS FLOOR 65-A

    He tiptoes along, gun held ready. He can HEAR the MUMBLE of
    voices from the conference room, moves slowly towards it.

    65-B CONFERENCE ROOM - RESUME 65-B

    Hans slowly takes out his Walther and his silencer. He feels
    his silencer a moment, as if making a decision, then slips it
    back into his coat pocket.

    HANS
    (weighing the gun)
    The code key, please...?

    TAKAGI
    It's useless to you! There's seven
    safeguards on our vault, and the
    code key is only one of them! You'll
    never get it open!

    Hans lifts the gun.

    HANS
    Then there's no reason not to tell
    it to us.

    THEO
    (aside to Karl)
    I told you...

    KARL
    It's not over...

    Hans gives them both a look like an annoyed schoolmaster,
    turns back to Takagi.

    HANS
    This is too nice a suit to ruin,
    Mr. Takagi. I'm going to count
    to three. There will not be a
    four. Give me the code.

    He cocks the gun:

    TAKAGI
    I don't know it! get on a Goddamn
    jet to Tokyo and ask the chairman!
    I'm telling you! You're just going
    to have to kill me --

    HANS
    Okay.

    BANG!! He pulls the trigger:

    66 OUT IN THE MUSEUM - MCCLANE 66 *

    reacts as if shot.

    A66-A HIS P.O.V. A66-A *

    The glass doors to the boardroom are splattered red and
    dripping...

    66-A INSIDE 66-A

    Takagi is still seated, but the chair in flat on its back,
    blood flowing out into the carpet.

    Hans springs to his feet:

    HANS
    We do it the hard way! Tony, see if
    you can dispose of that. (the body)
    Karl, you'd better check Heinrich's
    work up on the machine floor.

    Karl, in the midst of handing Theo a fifty dollar bill, nods.

    67 OUTSIDE - MCCLANE 67

    stunned, sees Hans move and tries to retreat. But his gun
    bumps the underside of the table:

    68 INSIDE - HANS 68

    hears it. Karl is the first to move:

    69 KARL 69

    springs through the door, finds nothing. He checks two
    adjoining rooms, the first is deserted. The second...is
    locked.

    70 KARL 70

    returns to Hans.

    KARL
    Nothing...

    HANS
    (nods)
    See to Heinrich...
    (to Theo)
    Now...you can break the code key...?

    THEO
    (grins)
    You didn't bring me along for my
    charming personality.

    As he heads for the elevator.

    THEO
    (under his breath)
    'Though you could have...

    Hans smiles, confident in his team, and follows. CAMERA
    SETTLES ON the door that Karl found locked.

    71 INSIDE THE SUPPLY CLOSET - MCCLANE 71

    slowly lets out a breath, praying softly:

    MCCLANE
    Argyle. Tell me you heard the shot.
    Tell me you heard the shot and you're
    calling the police right now...

    CUT TO:

    72 INT. LIMO - PARKING GARAGE 72

    Argyle is on the car phone. The music is playing.

    ARGYLE
    I'm working, honey. Working hard.
    'Course I'll be by later to pick you
    up, have I ever lies to you? My boss?
    He thinks I'm cruising to Palm Springs...

    72-A MACHINE LEVEL - TIGHT ON CEILING 72-A

    Heinrich PRESSES something into a niche here, scrambles like
    a monkey to a new position. Helped by one of his men, he
    JUMPS down, moves to another area, climbs up again, removing
    something from his shoulder bag.

    73 VAULT ROOM - 31ST FLOOR 73

    Hans and Theo enter the safe room. The huge corporate safe
    looms in front of them. Theo places three kit bags onto a
    table and rolls up his sleeves. He swivels a computer console
    into handy reach, sits down.

    HANS
    How long?

    THEO
    Thirty minutes to break the code...
    Two hours for the five mechanicals.
    The seventh lock...that's out of
    my hands.

    HANS
    If out plan works...the FBI will
    get rid of it for us.

    Theo grins, begins typing.

    73-A HIS SCREEN 73-A

    He types BEGIN ALGORITHM CODE PROGRAM. RANDOM NUMBERS AND
    LETTERS begin going by: AAAAA; 11111; AAAAB; 11112.

    74 32ND FLOOR 74

    McClane moves out onto the 31st floor, angry at himself.

    MCCLANE
    Why the fuck didn't you stop him?
    (beat)
    Because, you ignorant sonofabitch,
    you'd be dead, too. Think...think,
    Goddamnit!

    Suddenly he looks up at the ceiling and sees a sprinkler head.
    His look drops to the wall and focuses on a small red fire alarm
    switch by the door.

    75 INT. MAIN FLOOR - L.A. FIRE STATION - NIGHT 75

    An ALARM sounds. Quickly firemen move to their machines as a
    voice of a 911 DISPATCHER drones.

    911 DISPATCHER
    Main Wilshire units. Two alarm fire
    at Nakatomi Plaza --

    The voice continues as the station doors open and we:

    CUT TO:

    76 INT. NAKATOMI - GROUND FLOOR OPERATIONS ROOM - SAME 76

    A fire alarm indicator light showing which floor has sounded the
    fire alarm -- suddenly begins flashing, emitting short, loud
    beeps. Eddie, the terrorist in the guard's uniform and manning
    the station, immediately picks up his CB.

    77 32ND FLOOR - SAME 77

    McClane stands at windows looking Northward for fire trucks.
    Suddenly we SEE the flashing red lights of FOUR ENGINES in
    traffic two miles away.

    MCCLANE
    C'mon, baby...come to Papa. I'm
    gonna kiss your Goddamn dalmatian.

    78 INT. SERVICE ELEVATOR - ON HANS - SAME 78

    He rides the elevator back to the 30th floor with Tony.

    HANS
    (calmly, to Eddie
    on CB)
    Call 911, give them the name and
    badge number on your uniform and
    cancel the alarm...then disable
    the system.
    (looks across at
    Tony, presses talk
    button again)
    Eddie? What floor did the alarm
    go off?

    78-A MACHINE FLOOR 78-A

    They've heard the alarm here, too. Heinrich, Marco and *
    Uli HEAR the alarm and continue their mysterious work.

    79 UNFINISHED FLOOR - SAME 79

    McClane stands silhouetted against the window. In the distance
    he can see another fire truck swing off Santa Monica onto
    Avenue of the Stars.

    Suddenly the red light on the first truck goes out, then on the
    second. McClane watches in disbelief. The trucks slow and
    turn down separate side streets, heading for home.

    MCCLANE
    (realizing)
    Son of a bitch...

    Just then the elevator bell rings and we HEAR the ELEVATOR DOORS
    OPEN. A figure (Tony) slips into the shadows -- his machine
    gun drawn. We MOVE WITH HIM FROM the elevator area until he
    reaches the light switch and throws it illuminating the entire
    floor. McClane is gone.

    80 ON MCCLANE 80

    under a desk. He takes in his options.

    81 HIS P.O.V. 81

    The feet of Tony. They move slowly in his direction. McClane
    Looks down the aisle next to the windows. It leads to a series
    of cubicles at the other end of the floor and is a clear path
    if he can make it past Tony.

    82 TONY 82

    He moves steadily toward the area where we saw McClane.

    TONY
    The fire has been called off, my
    friend. No one is coming to help
    you. You might as well come out
    and join the others.
    (fingers the trigger
    of his machine gun)
    I promise not to hurt you.

    Moving more confidently, he steps up to McClane's desk, then
    around it and fires a blast into the space. It is empty. As
    the SOUND OF THE MACHINE GUN FADES he listens and hears another
    SOUND -- a NOISE coming from the other end of the room near
    the cubicles.

    Tony heads toward the noise. Sensing a trap, he moves past
    each cubicle carefully, checking each office until he reaches
    the doorway of the last one. The sound is just around the
    partition. He tenses, then spins into the cubicle.

    83 TONY'S P.O.V. 83

    A radial arm saw spins noisily.

    84 TONY 84

    grins at his nervousness. He moves to turn it off, not
    realizing the sound has buried the soft rustle of McClane,
    steps INTO FRAME behind him, McClane shoves his pistol barrel
    against Tony's temple.

    MCCLANE
    Freeze, Police...don't move or name
    your beneficiary.

    Tony doesn't. McClane cocks his Beretta. Tony watches him
    calmly.

    TONY
    You won't hurt me.

    MCCLANE
    Yeah? Why not?

    TONY
    (smug)
    Because you are a policeman. There
    are rules for policemen.

    MCCLANE
    Yeah. My Captain keeps telling
    me the same thing.

    McClane suddenly PISTOL WHIPS Tony across the head. Tony
    REELS, then swallows, worried for the first time.

    MCCLANE
    Let's go.

    Suddenly Tony spins to the side and McClane FIRES, but the
    big man's momentum slams McClane into a filing cabinet and sends
    his pistol into the hall.

    Tony fires his machine gun, but McClane kicks him into the desk.

    He locks his arms around the big man's neck in a hold that
    sends Tony reeling into the hall. McClane holds on as they
    slam through several plastic board partitions. They careen
    across the hall into the stairwell door, opening it, and crash
    into:

    85 STAIRWELL LANDING 85

    then down the concrete steps into the wall on the landing below.
    For a moment, both men lie still. McClane, still holding onto
    Tony's neck, releases it and the man's head flops sickeningly
    to the side.

    For a moment McClane just looks at the dead man. Then, slowly,
    methodically, he begins to SEARCH HIM. He turns all his pockets
    inside out, looks at his clothing labels, stares long and very
    hard at a California driver's license with Tony's picture on
    it. He expertly examines the machine gun when a HISSING SOUND
    coming from somewhere attracts his attention.

    He rises, moves cautiously to the source.

    85-A NEW ANGLE 85-A

    It's Tony's CB, which has fallen from the dead man's waist during
    the struggle. McClane stares at it, formulating a plan.

    CUT TO:

    86 INT. 32ND FLOOR - NIGHT 86

    PAN FROM Tony's now shoeless feet TO McClane, who sits on the
    floor near the body hurriedly lacing up the dead terrorist's
    boots on his own feet. He ties the last lace and tries to take
    a couple of steps.

    He winces in pain, goes off balance. Quickly he starts taking
    the boots off.

    MCCLANE
    A million terrorists in the world
    and I kill the one with feet
    smaller than my sister.

    He yanks off the boots and tosses them into the garbage. Then
    he pulls the body up and sets it down on a secretary's chair.
    He starts to push it along when he gets an idea and moves to:

    86-A A DESK 86-A

    Where he scribbles a note we cannot read on a piece of paper.
    Then his eyes fall on some Xmas decorations nearby. He smiles
    to himself.

    86-B IN THE ELEVATOR - UNFINISHED FLOOR 86-B

    TIGHT ON McClane's back as he pushes Tony's body on swivel
    chair into the elevator. (NOTE: WE CANNOT SEE TONY'S HEAD)
    CAMERA ADJUSTS as McClane pushes the buttons for the 31th and
    30th floors.

    We notice he's got the dead man's machine gun and that a wooden
    desk ruler protrudes from McClane's back pocket.

    The elevator doors close and the car starts down. After it's
    dropped only half a floor, McClane forces the doors open with
    his fingers -- stopping the car between floors.

    Using the ruler he blocks open the inside doors, then opens the
    outside doors of the floor above (31st) with his fingers and
    pulls himself up onto the carpeted floor, then up onto the roof
    of the car. Once on the roof of the car he reaches over the
    edge and removes the ruler, closing the inside doors and setting
    the car in motion again.

    86-C HOSTAGE FLOOR 86-C

    The hostages have been gathered together in a group in the center
    of the open floor, guards flanking them. The elevators are
    barely visible from the edge of the group, which is where Ginny
    and Holly are sitting. Ginny winces, uncomfortable on the floor.
    Holly soothes her. Hans stands in front of them like a stern
    camp counselor in front of the assembled bunk.

    HANS
    I wanted this to be professional,
    efficient, adult, cooperative. Not
    a lot to ask. Alas, your Mr. Takagi
    did not see it that way...
    (harder)
    So he won't be joining us for the
    rest of his life.
    (as that sinks in)
    We are prepared to go any way you
    make us. When we have achieved our
    aims you can walk out of here...
    or be carried out. Decide now, each
    of you. But remember that we have
    planned everything to the last detail.
    We are completely in change.

    A "DING" attracts his attention. He turns.

    87 NEW ANGLE 87

    The elevator doors OPEN and Fritz, guarding the area. WHIRLS,
    gun held ready. His jaw drop as he sees:

    87-A TONY'S BODY - HIS P.O.V. 87-A

    Still and dead, flopped in a swivel chair, a red Santa hat
    gaily placed on his head.

    87-B HANS 87-B

    REACTS.

    HANS
    (indicating the hostages)
    Get them over there. Schnell!

    The guards quickly hustle the hostages away as Hans crosses to
    the elevator, but for before.

    87-C HOLLY 87-C

    Sees the body...and REACTS. She knows her husband's abilities...
    not to mention his twisted sense of humor.

    87-D NEAR THE ELEVATOR 87-D

    As Fritz stands there, confused, Hans comes to the elevator with
    Franco, lifts Tony's chin and sees that his neck has been
    snapped. He sees a folded piece of paper in Tony's collar,
    takes it out.

    87-E INSERT - THE NOTE 87-E

    It reads, "Now I have a machine gun. HO-HO-HO."

    87-F BACK TO SCENE 87-E

    FRITZ
    Perhaps a security guard we
    overlooked...?

    Hans lifts Tony's chin again, lets the head flop over.

    HANS
    (thoughtfully)
    Security guard? They're usually
    tired and burned out old policemen growing *
    fat on a pension...This is...
    something else.

    87-G ROOF OF ELEVATOR - SAME TIME 87-G

    McClane is staring through a tiny crack at the scene below him.
    CAMERA ADJUSTS from Fritz in the b.g. to Hans and France just
    below.

    McClane is WRITING in his weather-beaten cop's notebook. The
    first notation is NUMBER OF HOSTAGES: HOLLY + 30 -- odd. Then
    it says, NUMBER OF TERRORISTS? As we watch, he adds "3 ? 1
    87-H in Lobby (?) and 2+ with hostages?? Plus ones on 87-H
    roof (3)."

    FRITZ'S VOICE
    (slightly spooked)
    We have to do something, Hans.

    HANS' VOICE
    (not pleased)
    Yes...we have to tell Karl his brother
    is dead. Tell him to come down.

    Now McClane writes "HANS=LEADER. Karl=BROTHER. USE THIS?"
    As Fritz calls Karl on his CB, Hans looks at Franco.

    HANS
    Franco, you and Fritz take the body
    upstairs and out of sight. I don't
    want the hostages to think too
    much.

    88 INT. ELEVATOR SHAFT - CAR ROOF - ON MCCLANE - SAME 88

    On top of the car, listening to the conversation below. Franco
    and Fritz step into the car and the doors on the elevator close.
    The car accelerates upward and McClane grabs onto the heavy,
    grease-coated cables to keep his balance. Already his clothes
    are soiled; his face and feet, arms and hair are dark from the
    dirt and sweat. The car speeds up the shaft -- passing the car
    bringing Karl down to the hostage floor -- and stops at the
    machine floor. The doors open and McClane hears them roll the
    chair with the body off the car. McClane looks up.

    89 MCCLANE'S P.O.V. 89

    A metal catwalk runs around the inside of the elevator shaft.

    90 MCCLANE 90

    pulls himself up onto it. As he moves along the catwalk looking
    for a way out, he passes an unmarked metal door, 2'x3'. McClane
    pushes it open and looks in.

    91 MCCLANE'S P.O.V. 91

    Total darkness.

    92 MCCLANE 92

    takes out a coin. A quarter. He stops, switches to a nickel.
    Throws it into the void. It is a full four seconds until we
    HEAR it "CHING" and bounce on concrete far below. You don't
    have to be a mathematics whiz to know it's a long drop.

    MCCLANE
    Jesus...

    He moves cautiously around a corner and we SEE a metal ladder
    leading up to a door marked PUMP ROOM. Opening the door
    McClane enters a darkened:

    93 PUMP ROOM 93

    damp and full of pipes and goes to another door. He cracks the
    door and looks out.

    94 MCCLANE'S P.O.V. 94

    The lower level of the roof. Open and deserted. Only a heliport
    above him is higher.

    95 30TH FLOOR (HOSTAGE FLOOR) - HOLLY'S OFFICE - SAME 95

    WIDEN as a FILING CABINET is FLUNG across the floor, drawers
    SLAMMING out, papers flying. KARL has done this, and he's *
    barely started. He FLINGS a LAMP against a wall, PUNCHES a hole
    into the plaster. Finally, Hans goes to him, lays controlling
    hands on the man's shoulder.

    HANS
    I know what you are feeling. But
    this is not productive --

    KARL
    (pushing him away)
    He was my only brother...my only
    family!
    (a flat statement)
    I want blood for my blood. We
    search...now.

    He starts to move. Hans stops him.

    HANS
    (firmly)
    No. Heinrich's team must finish
    planting the detonators...and Theo
    needs time on the vault. After the *
    police come they'll waste hours trying
    to negotiate...that's when we search *
    for this man. Until then...we do not
    alter the plan.

    KARL
    (quietly)
    And if he alters it...? *

    For once Hands doesn't have an answer.

    95-A HOSTAGES - AROUND THE CORNER 95-A

    They've heard the alarm, can see and sense the agitation among
    their captors. Ellis slides over to Holly.

    ELLIS
    What's happening?

    HOLLY
    They don't look happy...something's
    gone wrong.

    ELLIS
    The police...?

    HOLLY
    (shaking her head)
    John.

    ELLIS
    John? Christ, he could fuck this
    whole thing up...what does he think
    he's doing?

    HOLLY
    How about his job?

    ELLIS
    His 'job' is 3000 miles away. Without
    him, they might let us go...at least
    we have a chance...

    HOLLY
    (quietly)
    Tell that to Mr. Takagi.

    96 EXT. ROOF - NIGHT 96

    McClane climbs to the heliport and leans against the leeward side
    of a wall surrounding it. Shielded from wind, he pulls out the
    CB, turns to channel nine, and starts broadcasting.

    MCCLANE
    Mayday, Mayday! Anyone! Terrorists
    have seized and Nakatomi building
    and are holding 30 or more hostages!
    I say again --

    97 OUT OUT 97

    98 INT. HANS' OFFICE - SAME 98

    Hans, Karl, Fritz and France hear the clear signal over Hans'
    CB.

    MCCLANE'S VOICE
    -- unknown number of terrorists,
    six or more, armed with automatic
    weapons at Nakatomi, Century City...
    Somebody answer me, Goddamnit!

    Karl looks almost...satisfied.

    HANS
    The roof. It's the best place to
    transmit.

    They move.

    99 INT. LOS ANGLES EMERGENCY DISPATCH CENTER - SAME 99

    A SUPERVISOR weaves her way back from the break room toward a
    DISPATCHER who is monitoring the call.

    DISPATCHER
    It's the same address as that fire
    signal -- *

    SUPERVISOR
    (frowning)
    -- the false alarm? I'll handle *
    it.

    She plugs in her headset. (Her condescending, arrogant tone is
    like the one in the famous tape where the dispatch lady spends
    so much time on red tape that the patient dies.)

    SUPERVISOR
    (into mike)
    Attention, whoever you are. This
    channel is reserved for emergency
    calls only --

    MCCLANE'S VOICE
    No fucking shit, lady! Do I sound
    like I'm ordering a pizza?

    100 OUT OUT 100

    101 INT. SERVICE ELEVATOR - ON KARL - SAME 101

    with Franco and Fritz.

    KARL
    No one kills him but me.

    It's an order and the look he gives the other two backs it up.
    Karl checks his magazine, SLAPS it into his rifle as the elevator
    opens to the roof.

    102 EXT. UPPER ROOF 102

    McClane moves around the roof, circling the helipad, making sure
    he has a good enough view to avoid being ambushed. He can't
    see in all directions at once but he's doing the best he can.

    MCCLANE
    They've already killed one hostage,
    and they're fortifying their positions
    while we're bullshitting! Now, send
    police backup ASAP!

    SUPERVISOR'S VOICE
    Sir, I've already told you, this is
    a reserved channel. If this is an
    emergency call, dial 911 on your
    telephone. Otherwise I will report
    you to the police --

    MCCLANE
    (to the radio)
    -- fine! Report me! Hey, come down
    here and fucking arrest me! Send
    the police. NOW -- !

    Suddenly machine gun shells rip into the concrete wall in front
    of him. The noise is deadening as we:

    CUT TO:

    103 INT. DISPATCHER OFFICE - SAME 103

    Both Supervisor and Dispatcher reach for their headsets in
    pain from the INTENSE SOUND and:

    104 OUT OUT 104

    105 EXT. ROOF - ON MCCLANE - SAME 105

    Running. Tracer bullets rip into the wall behind him. He
    reaches the corner and sees the other two terrorists moving
    toward him. Before they see him, he leaps down to the next
    level out of range of Karl.

    106 INT. EMERGENCY DISPATCH - SAME 106

    The Dispatcher looks critically at the Supervisor in the
    sudden silence.

    SUPERVISOR
    (importantly)
    Ad...have a black-and-white do a
    drive-by.

    CUT TO:

    107 INT. 7-11 - AT THE COUNTER - NIGHT 107

    TIGHT as one after another after another HOSTESS TWINKIE is
    stacked up on the counter. CAMERA WIDENS and we SEE the
    young male CLERK, who stifles a smile. Another teenage
    employee behind the counter also smothers a laugh.

    The customer is POWELL, young for a police veteran, old for
    the rest of the world.

    CLERK
    Thought you guys just ate donuts.

    POWELL
    They're for my wife. She's pregnant.
    If I knew she was gonna eat a dozen
    at a shot, I woulda bought stock in
    the company.

    The Clerk nods and puts them in a bag. As Powell pays, suddenly
    his BELT RADIO crackles to life.

    DISPATCHER'S VOICE/RADIO
    Dispatch to One Adam Ten, over.

    Powell grabs the radio, speaks into it.

    POWELL
    One Adam Ten, go ahead.

    DISPATCHER'S VOICE/RADIO
    Investigate a code two at Nakatomi
    Plaza, Century City.

    POWELL
    (thinking)
    Nakatomi Plaza?

    He moves to the door, steps outside.

    107-A EXT. CONVENIENCE STORE 107-A

    Powell looks towards the horizon and up.

    There it is, Nakatomi, in all its gleaming glory.

    DISPATCH VOICE
    One Adam Ten, do you copy?

    Powell is already moving to the car. He tosses in the twinkies,
    hops behind the wheel.

    POWELL
    (into police
    radio)
    Roger, dispatch. I'm on the way.

    And he BURNS RUBBER leaving the store:

    CUT TO:

    108 EXT. ROOF - ON MCCLANE - NIGHT 108

    running for his life, from Fritz and Franco, doesn't realize
    he is being herded around the building toward Karl. Suddenly
    McClane turns a corner and sees Karl. The big man fires a
    burst and McClane ducks back stopping at the exterior door
    to the pump room he used before. It is locked from the inside.

    He BLOWS the lock off with a burst from his machine gun and
    slips into the darkness of the:

    109 ELEVATOR SHAFT NEAR PUMP ROOM 109

    Coming quickly out of the pump room, McClane picks his way
    over the same ground as a few minutes before and opens the door
    to the elevator shaft. The dimly lit shaft yawns before him.
    He starts down the ladder back to the catwalk, moves along
    it -- STOPS.

    The catwalk ends, and the elevator is gone.

    109-A INT. PUMP ROOM - OTHER END 109-A

    Karl crosses, starts to open the door to the elevator shaft
    when suddenly their radio crackles with --

    HANS' VOICE
    Karl? Franco? Did you catch him?

    FRANCO
    No, but he's in the elevator shaft.

    HANS' VOICE
    Prefect. The elevators are locked off. *
    He can't escape. Just shut him in and
    return to base.

    KARL
    Hans, he killed by brother --

    HANS
    (more firmly)
    Karl, I know you want him, but the
    police are probably on their way.
    Maybe we can convince them it was all
    a mistake, but not if they hear gunshots!
    If you lock him in he'll be neutralized
    -- now do it! Karl? Karl!

    Karl turns off his radio. In the light of their flashlights,
    the two other terrorists look at Karl in stunned disbelief.
    He opens the door to the elevator shaft.

    109-B INT. ELEVATOR SHAFT - ON MCCLANE 109-B

    He's OVERHEARD enough of this to realize he's in deep shit.
    He backtracks to the air shaft door, strikes a cigarette
    lighter.

    110- OUT OUT 110-
    117 117

    117-A ELEVATOR SHAFT (OPPOSITE SIDE) 117-A

    Karl steps off the ladder to the catwalk, his own gun held *
    ready.

    118 MCCLANE 118

    HEARING Karl's approach, McClane thinks fast, looks down at
    his narrow confines, and then at:

    118-A HIS WEAPON 118-A

    and its canvas gunsling and metal strap slides.

    118-B BACK TO SCENE 118-B

    Quickly, McClane lets out all the slack in the sling. Then,
    he BRACES the weapon across the outside opening of the air
    shaft door and lowers himself into the:

    119 AIR SHAFT 119

    meanwhile holding onto the canvas sling with his elbows bent
    over it like a kid doing a half-asses skin-the-cat on a swing
    set.

    His feet slowly move down the smooth aluminum walls until they
    reach the top of the air duct, then DANGLE in the open space.
    He straightens his arms to give him length enough to touch
    the bottom edge of the duct.

    Suddenly he FEELS something GIVE above him and looks up.

    120 CLOSE ON THE SLING 120

    It was designed to carry a gun on a man, not vice versa. The
    few inches of extra canvas are sliding through the clips.
    When they're gone...he will be too.

    121 KARL 121

    He moves silently toward the corner.

    122 CLOSE - MCCLANE'S TOES 122

    now only inches from the bottom edge. McClane's arms are
    fully extended now. He hears Karl on the metal catwalk. His
    muscles strain and quiver.

    123 THE SLING 123

    One of the canvas end slips through the clip.

    124 ON MCCLANE 124

    FALLING. He grabs the ledge of the air duct as he falls and
    his body slams into the aluminum wall with an echoing BOOM.
    Above him on the catwalk the rifle rattles on the metal outside
    the door.

    125 ON KARL 125

    Around the corner Karl FREEZES, unsure of the sound:

    126 ON MCCLANE 126

    holding onto the ledge by his hands. With every ounce of
    strength he tries to pull himself up into the horizontal duct,
    clawing for a hold.

    127 ON KARL 127

    He rounds the corner and sees McClane's rifle lying beneath
    the doorway. He moves to the small door, shines his light and
    aims his rifle down into the air shaft ready to fire.

    128 HIS P.O.V. 128

    The shaft is deserted. Moving his light around he sees the air
    duct. Without hesitation he turns and backtracks to the pump
    room door.

    129 INT. AIR CONDITIONING DUCT - ON MCCLANE - SAME 129

    He lies exhausted and motionless in the narrow crawl space. He
    awkwardly fishes out the lighter from his shirt pocket and
    thumbs it ON.

    The flickering GLOW shows him this ain't no place for
    claustrophobics -- it's a long, long long dark and narrow
    corridor full of weird shadows. The far end (if there even
    if one?) is BLACK.

    MCCLANE
    Whew...for a moment there I was
    worried.

    He turns out his lighter, and starts crawling.

    130- OUT OUT 130-
    133 133-

    133-A INT. MACHINE FLOOR 133-A

    The three terrorists rush down from the roof in hot pursuit,
    Karl leading the way through the door. Karl points quickly to
    the left and right where there are a series of rooms. The
    others checks these while Karl approaches the CAMERA, trigger
    finger ITCHING. Almost immediately, the others return.

    FRANCO
    (a whisper)
    Nothing.

    Karl looks puzzled. Then he thinks, mentally retracing McClane's
    few options. Karl's eyes scan the architecture here, and then
    suddenly he looks UP.

    133-B OUT OUT 133-B *

    134 HIS P.O.V. 134 *

    The ceiling is criss-crossed with air ducts. He fires a *
    burst into the ducts.

    135 INT. AIR DUCT - SAME 135

    McClane remains motionless in the air duct. Three quarter-size
    holes inches from his face show how close Karl came to nailing
    him. Sweat covers his face, drips silently onto the aluminum.

    136 MACHINE ROOM 136

    Karl listens patiently for sound. Just then the two other
    terrorists return.

    FRANCO
    Nothing.

    Karl hesitates a moment, fighting his instincts before finally
    turning to go. Suddenly the duct McClane is in GROANS slightly
    under his weight. Karl stops and looks up at the matrix of
    aluminum duct work, trying to single out the source of the
    sound. He steps back into the room and raises his rifle.
    Holding it upright he presses the barrel up into the belly
    of McClane's air duct, feeling for weight -- the weight of a
    body.

    137 INSIDE THE AIR DUCT 137

    McClane sees the indention of the barrel pressing into the
    aluminum fifteen feet away. There is a pause and another
    three feet closer. He can hear Karl's footsteps on the
    concrete -- moving slowly below the duct.

    138 ON KARL 138

    His eyes are fixed above him on the air duct. He presses the
    barrel up again. Still nothing.

    139 ON MCCLANE 139

    Silently he moves his hand, slowly draws his Beretta. The
    next indention presses up six feet away. McClane points his
    gun downward and waits.

    140 KARL 140

    stops directly below him. The barrel starts up and just
    touches the duct under McClane when Franco returns to the
    door and calls:

    FRANCO
    Karl! Police! Come on.

    Karl hesitates then lowers his gun and leaves.

    141 CLOSE - MCCLANE 141

    He hears the door close and lowers his head.

    141-A INT. 33RD FLOOR - SAFE ROOM 141-A

    The large LED WINDOW in the front of the safe BEEPS and letters
    creep by: ACCESS CODE ACCEPTED. We HEAR a CLUNK.

    CAMERA ADJUSTS to show Theo, who grins. Now his computer
    screen reads, LOCK #1 DISABLED. DO YOU WISH TO PROCEED?

    Theo puts goggles on his eyes, holds out his hands towards
    Kristoff like a doctor requesting a scalpel. Kristoff gives
    him a GIANT DRILL.

    THEO
    You bet your ass I'm gonna proceed.

    He turns on the drill:

    142 OUT OUT 142

    143 EXT. CENTURY CITY - AVENUE OF THE STARS - NIGHT 143

    The street is empty, quiet. A lone police black-and-white
    pulls out of the shadows of a side street and begins a slow
    cruise toward the Nakatomi building.

    144 ON POWELL 144

    Driving, alone. He starts up at the tower. It seems calm,
    its glowing lights matching the warmth of the holiday
    decorations on the streets. Powell slows to a stop and
    scans the premises. In the lobby we SEE Eddie, sitting behind
    the desk. Powell reports to his radio.

    POWELL
    Guard inside. No signs of disturbance
    ...I'm going up for a closer look.

    He pulls in and parks in the front.

    145 INT. MACHINE ROOM - SAME 145

    McClane punches out a ceiling vent and drops down into the
    machine room. For a moment he stands, listening for sounds
    of movement. The floor is quiet. He goes to the stairwell.

    146 EXT. ROOF - SAME 146

    The edge of the roof. Suddenly a tall terrorist, James,
    moves along the wall and looks over at Powell's car.

    147 INT. 3RD FLOOR - SAME 147

    The elevator doors open on Karl, Franco and Fritz. They *
    step out onto the darkened floor. We SEE large number "3"
    painted on the doors of this floor.

    They move quickly toward the windows on the Avenue of the Stars
    side where a terrorist, ALEXANDER, with a BAR rifle has set up
    a machine gun nest under a half-opened window. Directly below
    him we SEE Powell's car.

    Alexander PANS the police car with his weapon, finger on the
    trigger. This is clearly a man hungry for action.

    148 30TH FLOOR (HANS' OFFICE) - SAME 148

    Hans watches from above. He raises his CB.

    HANS
    (his usual calm)
    Eddie?

    149 INT. LOBBY - SAME 149

    Eddie picks up his CB. He watches Powell coming up the stairs.

    EDDIE
    (to CB)
    Had a feeling you'd be calling...

    HANS' VOICE
    Let him in.

    Eddie is a little startled, but he moves quickly.

    149-A ALEXANDER 149-A

    also hears this, and his eager expression fades. But orders
    are orders.

    150 EXT. FRONT DOOR OF NAKATOMI - SAME 150

    Powell tries the front doors. Locked. Eddie comes hustling
    across and unlocks the door with the magnetic card.

    EDDIE
    Evening, officer. What's up?

    Powell steps in and looks around. Bland HOLIDAY MUZAK filters
    from Speakers here. (LET IT SNOW) *

    POWELL
    We got an emergency call that there
    was a problem here.

    151 INT. 34TH FLOOR - BOARD ROOM - SAME 151 *

    McClane makes his way to the Avenue of the Stars side of
    the building, enters the board room where Takagi was shot.
    McClane goes to the windows and looks down at the street.

    152 HIS P.O.V. 152

    Powell's car.

    MCCLANE
    All right!

    McClane waits, expectant. Five seconds. Ten seconds. But
    no commotion, no shouting. He frowns.

    MCCLANE
    Where's the fucking cavalry?

    152-A INT. LOBBY - SAME TIME 152-A

    Powell walks casually across the slick floor, eyes panning the
    area. Eddie sits casually watching a game on one of his
    monitor screens.

    EDDIE
    We already had that false alarm, you
    ask me, the Goddamn computers sent
    you out on another wild goose chase.
    They been chasing bugs in that system
    since they installed it.
    (to the screen)
    Oh, shit, come on, I got fifty bucks
    on you assholes -- !

    Powell's face shows us he's starting to think he's wasting his
    time.

    152-B- OUT OUT 152-B
    153 153

    153-A WITH MCCLANE 153-A

    The silent tension is driving him crazy.

    MCCLANE
    Come on, come on...who's in that
    car, Stevie Wonder?

    He makes up his mind. He lifts one of the big chairs and
    swings it at the window. The tempered glass whitens on the
    first blow.

    153-B EXT. ROOF 153-B

    James sees the glass whiten below him and shouts into his mike.

    153-C INT. MACHINE FLOOR 153-C

    Heinrich hears the radio and shouts to Marco who grabs his
    machine gun and runs.

    154 INT. LOBBY 154

    Eddie watches confidently as Powell moves through the lobby
    looking for signs of trouble.

    154-A AROUND THE CORNER FROM POWELL 154-A

    Uli is there, gun held ready. *

    155 BOARD ROOM - 34th FLOOR 155

    McClane draws the chair back for the final hit when a terrorist
    (MARCO) appears at the door. Both men react, but Marco already
    has his gun up. He FIRES a round at McClane. The bullets rip
    into the table top and the chair, and McClane goes down behind
    the table.

    156- OUT OUT 156-
    156-A 156-A

    157 INT. 34th FLOOR - BOARD ROOM 157

    Marco smiles and moves around to the other side of the table,
    but finds no one. He looks around frantically than squats
    beneath the table and sees:

    158 MCCLANE 158

    lying prone, his pistol trained on him.

    MCCLANE
    Drop it or you're a rugstain.

    159 BOARD ROOM DOORWAY 159

    Just then Heinrich, the terrorist steps into the doorway, sees
    the situation.

    HEINRICH
    Marco, duck!

    Marco dives sideways, but Heinrich still isn't quick enough.
    McClane FIRES TWICE and Heinrich DROPS sprawling in the hallway,
    machine gun FIRING BLINDLY until he hits the floor.

    159-A HOSTAGE FLOOR 159-A

    They can FAINTLY HEAR the gunshots. Holly pales:

    159-B THE LOBBY 159-B

    All Powell can hear here is "LET IT SNOW, LET IT SNOW." He
    STOPS just a yard from seeing the armed terrorist, turns back.

    POWELL
    Screw this.

    He turns back.

    159-C THE BOARD ROOM 159-C

    Marco springs on top of the huge table. McClane rolls on his
    back so he can cover either angle but it is clear that Marco
    is in the more enviable position.

    160 ON MARCO 160

    on the table top slams in a fresh magazine and smiles.

    MARCO
    Next time -- don't hesitate.

    He leans his machine gun over the edge.

    161 MCCLANE 161

    aims directly above him and fires twice into the underside
    of the table. The bullets rip through the table and Marco,
    who DROPS beside McClane.

    MCCLANE
    Thanks for the advice.

    162 OUT OUT 162

    163 INT. LOBBY - SAME 163

    Powell heads for the door. Eddie moves to lock up after him.

    POWELL
    Sorry to water your time. Merry
    Christmas.

    Powell goes out.

    164 INT. 34TH FLOOR BOARD ROOM - SAME 164

    McClane rolls out from under the table, goes to the windows,
    and looks down in time to see Powell heading for the car.

    MCCLANE
    Oh, man, please, no --

    Desperate, he leans on the glass...which CRACKS again, on the
    verge of going. McClane thinks...looks over his shoulder at
    the body of Marco.

    165 INT. POWELL'S POLICE CAR - SAME 165

    Powell check in on his radio. Unconsciously he begins to
    HUM the Muzak he overheard in the lobby.

    POWELL
    One Adam Ten to 6421. We had a
    wild goose chase on that 436.
    Everything's okay here. Over.
    (waiting, loosening
    his tie, he murmurs)
    'Oh, the weather outside is frightful,
    but the...the uh, dum, de dum's
    delightful...'

    DISPATCHER'S VOICE
    Roger, One Adam Ten. We thought it
    was a crank call anyway. Clear to
    code eight.

    POWELL
    Roger.
    (putting the
    car into gear)
    '...let is snow, let it snow, let
    it snow -- '

    Suddenly Marco's body CRASHES onto the hood of his car.

    POWELL
    (terrified)
    -- Jesus H. Christ!
    (grabbing for
    his radio)
    6421, this is One Adam Ten --

    Suddenly a barrage of MACHINE GUN FIRE from Alexander on the
    third floor drowns out his call! Powell ducks and flattens
    against the seat as bullets blow out the front window,
    covering him in glass.

    DISPATCHER'S VOICE
    Roger, One Adam Ten, please repeat.

    But Powell accelerates in reverse away from the building,
    keeping his head low and praying he doesn't hit anything
    as the bullets follow him, digging into asphalt. A half block
    away his car runs off the pavement and down a SLOPE, finally
    BOUNCING to a jarring HALT in a parking lot which is destined
    to become police H.Q. a few pages from now. Powell sits up
    and clutches the mike.

    POWELL
    One Adam Ten, under automatic rifle
    fire at Nakatomi! Requesting immediate
    backup and SWAT assistance...


    166 INT. 34TH FLOOR - BOARD ROOM 166 *

    McClane looks down at Powell and grins.

    MCCLANE
    Welcome to the party, pal.

    CUT TO:

    166-A INT. OFFICE - TV STATION - SAME TIME 166-A

    WIDEN FROM A POLICE SCANNER. We take in the action here,
    all color coordination and slickness. RICHARD THORNBURG, *
    local TV news reporter, is on the phone to his girlfriend.

    THORNBURG *
    (into phone)
    -- of course I can get us a table,
    Wolfgang and me, we're like that.
    I interviewed him...hold on, *
    babe...

    He covers the mouthpiece, because he's become aware of what's
    coming from the scanner.

    POLICE SCANNER
    (various voices)
    -- attention all units. Officer
    pinned down by automatic weapon
    fire at Nakatomi, Century City --
    request assistant -- (ETC)

    POWELL'S VOICE
    (intermixed with
    all this)
    -- guys, you want to cut through
    the red tape? They practically
    turned this car into Swiss cheese -- !

    THORNBURG
    (pleased)
    All right...!

    He drops the phone, pick up another. Shouts --

    THORNBURG
    Mary, this is Dick. I want a remote
    truck and a crew to meet me at the
    South gate in fifteen minutes...
    (listens)
    Damn right, fifteen...
    (listens)
    Where are we going?
    (Hearing gun shots)
    For an Emmy!

    Now, hearing MACHINE GUN FIRE, Thornburg hangs up the second
    phone. Runs out of the room. CAMERA PANS BACK TO the first
    phone.

    WOMAN'S VOICE
    Richard? Richard?

    167 EXT. CENTURY CITY - NIGHT 167

    Sirens wail as the first few police cars arrive. Powell sees
    them, waves them back, points to the third floor.

    168 INT. HOSTAGE WING - ON ELLIS - SAME 168

    He leans back and closes his eyes, luxuriating in the sound
    of WAILING POLICE SIRENS. He looks at Holly.

    ELLIS
    I never through I'd love to hear
    that sound.

    169 HANS' OFFICE 169

    Hans, Karl, Fritz and Franco confer.

    HANS
    (in mid-speech)
    -- all of you, stay at your posts!
    We knew that police action was
    inevitable...
    (an odd smile)
    ...In fact, it's necessary. So let
    them start their feeble efforts;
    until them, stay calm. We have
    the hostages, remember. We are
    still in charge.

    Suddenly Hans' CB crackles to life.

    HANS
    (picking it up)
    I told all of you...I want radio
    silence until further --

    INTERCUT:

    169-A MCCLANE - 34th FLOOR - BOARD ROOM 169-A *

    He's got a CB on the table and ON, and his cop's notebook is
    out again. He's already upgraded the NUMBER OF TERRORISTS?
    to "12 (?) minus 3 = 9" and added other information. As he
    speaks he takes ammo clips the dead men dropped, their
    sidearms, etc.

    MCCLANE
    Gee, I'm sorry, Hans, nobody gave
    me the message. You shoulda put
    it on the bulletin board. Anyway,
    I thought you and Franco and Karl
    and the other boys might be lonely,
    now that I waxed Tony and Marco and
    their buddy. So I invited some of
    the guys from my card game.

    In the office, the terrorists REACT, startled, as McClane
    name-drops.

    FRANCO *
    How...how does he know so much
    about --

    HANS
    (waving for silence)
    Ah, how nice of you to call. I
    assume you are our mysterious party
    crasher. You are most troublesome
    for a...security guard?

    170 INT. 34th FLOOR - ON MCCLANE - INTERCUT 170 *

    Moving down the corridor. Now armed with Marco's machine
    gun and carrying Heinrich's kit bag, he seems more lethal. *

    MCCLANE
    (into CB)
    BZZZ! Sorry, Hans, wrong guess.
    Would you like to go for
    Double Jeopardy, where the stakes
    are double and the scores really
    change?

    He rolls Heinrich over and is delighted to find a pack of
    Gauloise's in the man's pocket. He takes them, pats the *
    dead man's face.

    MCCLANE
    (sotto, to the body)
    Bad for your health anyway.

    HANS
    Who are you, then?

    MCCLANE
    Just the fly in the ointment, Hans.
    The monkey in the wrench, the pain
    in the ass -

    McClane STOPS in mid-speech. He's just opened the kit bag
    Heinrich had over his shoulder when he died. Now McClane
    takes out the contents...dozens and dozens of EXPLOSIVE
    DETONATORS marked "DANGER" and a CHUNK of cello-wrapped
    PLASTIQUE the size of an electric razor. He WHISTLES in
    surprise to himself.

    In the office, Hans turns off his mike for a moment, turns
    to Karl. *

    HANS
    Check on all the others...don't
    use the radio. See if he's lying
    about Marco and find out if anyone *
    else is missing. *

    He moves. Hans goes back onto the CB. Meanwhile, McClane *
    SMILES at the tell-tale STATIC as Hans goes off and on. He
    knows what's happening. Now, he starts to walk down
    a corridor, eyes PANNING FROM elevator to the stairwell
    doors.

    HANS
    Mr. Mystery Guest. Are you still
    there?

    MCCLANE
    I wouldn't think of leaving, Hans.
    Unless you want to open the front
    door...?

    HANS
    I'm afraid not. But you have me
    at a loss -- you know my name, but
    who are you?
    (scornfully)
    Just another American who saw too
    many movies as a child. Another
    orphan of a bankrupt culture who
    thinks he's John Wayne...Rambo...
    Marshal Dillion.

    MCCLANE
    Actually, I was always partial to
    Roy Rogers. I really dug those
    sequined shirts.

    HANS
    (harsh)
    Do you really think you have a chance
    against us, Mr. Cowboy?

    A LIGHT blinks on the elevator.

    MCCLANE
    (long pause)
    Yipee-yi-yea...mother-fucker.

    McClane goes quietly through the stairwell door and is gone
    by the time the search party steps onto this floor.

    Hans sits quietly...thinking.

    170-A OUT OUT 170-A

    CUT TO:

    171 INT. 30TH FLOOR - SAME 171

    Karl steps off the elevator and goes through the crowd of
    hostages to Hans.

    KARL
    (quietly)
    He wasn't lying about Marco: He's
    thirty stories down on the street.
    The other man is Heinrich, and I found
    his body upstairs.
    (pause; Hans looks
    alarmed)
    And his bag is missing.

    HANS
    He had the detonators!
    (into CB)
    Theo? Theo!

    INTERCUT:

    171-A THEO - IN SAFE ROOM 171-A

    With Kristoff, he has DRILLED TWO HOLES in the safe and is
    working on a third when he HEARS the CB. He turns off the
    drill, answers.

    THEO
    Yo!

    HANS
    We may have some problems. How is
    your schedule?

    Theo moves to his computer screen which shows a schematic of
    the safe and blinking icons and the words MECHANICALS #2
    and #2 DISABLED.

    THEO
    Three down, four to go --

    HANS
    Then don't waste time talking to
    me.

    Suddenly all REACT to a nearby CB transmitter which broadcasts.

    POWELL'S VOICE
    This is Sergeant Al Powell of the
    Los Angeles Police Department. If
    the person who radioed for help on
    this channel can hear me, acknowledge
    this transmission...I say again...

    172 INT. 33RD FLOOR - ON MCCLANE - NIGHT 172 *

    MCCLANE
    (to CB)
    I read you, Powell. You the guy
    in the car?

    INTERCUT:

    173 EXT. POLICE OPERATIONS TRAILER 173

    Powell stands in front of his destroyed cruiser and looks
    up at the building. Behind him technicians, City Power and
    Light personnel, SWAT officers in protective gear, etc., arrive
    from all directions. A trailer is being backed into a parking
    lot, which will become the police center of operations. It
    is like watching a small town being constructed right before
    your eyes.

    POWELL
    (to CB)
    What's left of him. Can you
    identify yourself?

    INTERCUT:

    173-A HANS AND KARL 173-A

    Listening intently.

    MCCLANE
    Maybe later. Just listen fast
    because this is a party line and
    the neighbors are trigger happy.
    Now here's the skinny: There's
    thirty or so hostages on the
    30th floor, with probably 2 or 3
    guards to cover a group that size.
    The leader here is named Hans,
    and besides the pea shooter he
    ventilated your car with, *
    they got machine guns and *
    sidearms up the yin yang. On top
    of that one of 'em had a big enough
    chunck of plastic explosive to
    orbit Kate Smith. *

    NOTE: The following dialogue is said OVER McClane's.

    FRANCO
    We have to find him and shut him
    up! He's telling them everything --

    HANS
    (shaking his head,
    calming)
    The police are irrelevant. We've *
    waiting for the FBI. Until they *
    arrive, we can't finish out work.
    Meanwhile, let this fool waste time
    for the police. Fritz, go help Uli *
    find the bag.

    The CAMERA TIGHTENS ON him

    HANS
    We must find those detonators.

    They leave.

    173-B WITH MCCLANE 173-B

    POWELL'S VOICE
    How many are there?

    MCCLANE
    (thinking about it)
    Figuring there's at least one to
    cover the lobby, a couple with the
    hostages...I'd say they came in
    with about a dozen...but they're
    down to nine now, including the
    skydiver you already met. These
    guys are mostly Europeans, judging
    by their clothing labels, and they're
    well financed and very slick.

    POWELL
    How do you know?

    MCCLANE
    I've seen enough phoney ID's in
    my time to recognize that the ones
    they've got cost a fortune. Add all
    that up and I don't know what the
    fuck it means, but these are bad
    ass preps and they're here to stay.

    We notice that everything McClane has said about "clothing"
    and ID's and police jargon, etc., has set off a little buzzer
    in Powell's brain.

    POWELL
    I hear you...
    (on a hunch)
    Partner. And LA's finest are on it,
    so light 'em if you got 'em.

    MCCLANE
    I'm ahead of you...partner.

    POWELL
    Uh, what do I call you?

    A moment. McClane smiles. What the hell?

    MCCLANE
    'Roy'.

    POWELL
    Got it...'Roy'. Now listen. If
    you think of anything else you think
    we need to know, don't be shy, okay?
    In the meantime I want you to find
    a safe place and hole-up and let
    us do our job. Understand?

    MCCLANE
    (to CB)
    They're all yours, Al. Good luck.

    McClane turns off his CB and sits against the wall.

    174- OUT OUT 174-
    176 176

    177 EXT. POLICE OPERATIONS - NIGHT 177

    An unmarked police car pulls up across the street from
    Nakatomi building and a MAN in a sportcoat climbs out.
    Stocky, his hair a little too perfect, the very fact that
    he is the Deputy Chief of Police Operations on a Christmas Eve
    gives some evidence to his position in the pecking order. His
    name is DWAYNE T. ROBINSON and he moves brusquely past police
    technicians and goes to the forward group of officers.

    ROBINSON
    Who's talking to them?

    Powell turns around

    POWELL
    I am, Sir...Sergeant Al Powell.

    ROBINSON
    Dwayne Robinson. Well, what have
    you learned? What do they want?

    POWELL
    The terrorists? Don't know, Sir.
    We haven't heard a peep from them.

    ROBINSON
    (puzzled)
    Then who the hell have you been
    talking too?

    POWELL
    We don't exactly know, Sir. He won't
    give us him name. He appears to be the
    man who called in the report...he's
    killed one of the terrorists for sure
    and claims he capped two others.

    ROBINSON
    (exasperated)
    He claims? Powell, has it occured
    to you he could be one of the
    terrorists, pulling your chain?
    Or some kind of nut case who --

    POWELL
    I don't think so, Sir. In fact...
    I think he's a cop. Maybe not
    LAPD, but definitely a badge.

    ROBINSON
    How do you know?

    POWELL
    A hunch. Things he said. Like,
    knowing how to recognize a phony
    ID --

    ROBINSON
    (exasperated)
    -- recognizing phony ID's? Christ,
    Powell, he could be a fucking
    bartender for all we know!

    Something draws Robinson's attention. He looks at:

    178 HIS P.O.V. - REMOTE NEWS TRUCK 178

    Pulling up and parking just beyond the barricades.
    Richard Thornburg gets out, starts supervising the *
    positioning of cameras.

    178-A BACK TO SCENE 178-A

    ROBINSON
    Oh shit...

    179 HOSTAGE FLOOR 179

    Hans examines building plans at Holly's desk. Behind him
    the TV is ON, the sound muted. TV cops triumph over oafish
    bad guys.

    Hans looks up as Fritz brings in Holly.

    HOLLY
    I...have a request.

    HANS
    Oh? What idiot put you in charge?

    HOLLY
    (evenly)
    You did.
    (on his look)
    You murdered by Boss. Now...
    (waving towards
    the hostages)
    They're looking to me. Personally
    I'd pass on the jab. I don't enjoy
    being this close to you.

    Hans is impressed by her candor. And she's easy enough
    on the eyes.

    HANS
    Go on.

    HOLLY
    We have a pregnant woman out there --
    (on his look)
    -- relax, she's not due for two
    weeks, but a marble floor isn't
    doing her back any good. I'd like
    permission for her to more to one
    of the offices where there's a sofa.

    HANS
    No. But I'll have a sofa brought
    out to you. Good enough?

    HOLLY
    Good enough. And unless you like
    is messy, you'd better start taking
    us in groups to the bathroom.

    HANS
    (nods)
    Yes, you're right. It will be done.

    He nods to one of his men, and she is waved to the door:

    As she goes:

    HANS
    Mr. Takagi chose his people well,
    Mrs...?

    HOLLY
    Gennero. Miss Gennero.

    He nods, thoughtful. She goes out. Hans suddenly notices:

    180 CLOSER - TV 180

    A slide "SPECIAL BULLETIN" has appeared. This changes to a
    SHOT of the Nakatomi building with "LIVE" supered over it.
    Richard Thornburg is in front. The CAMERA TIGHTENS ON him.

    THORNBURG
    This is Richard Thornburg, speaking
    to you live from Century City...
    where Los Angeles has joined the
    sad but world wide fraternity whose
    only membership requirement is the
    awesome spectre of International
    Terrorism...

    181 ANOTHER TV SCREEN - NIGHT 181

    As Thornburg Continues, we PULL BACK. We're WITH Argyle in
    the back seat of the limo.

    ARGYLE
    (reaching for the
    remote)
    What else is new...?

    The CAMERA PULLS BACK and we SEE the Nakatomi Building rise
    up in the b.g. behind Thornburg.

    ARGYLE
    (stunned)
    Holy shit...

    THORNBURG
    We're told that the situation began
    some two hours ago when an
    unidentified party of men took over
    the building and sealed off all of
    its entrances and exits...

    Argyle is already bailing out of the car.

    182 EXT. LIMO - IN THE GARAGE 182

    Argyle looks at the metal gates, swallows. He JUMPS back
    in the car.

    183 BACK INSIDE 183

    Argyle pours himself a stiff drink.

    THORNBURG
    (on TV)
    Since all the telephone lines have
    been cut, the only contact with the
    building had been through the use of
    CB communicators which the terrorists
    brought with them. Strangely enough,
    so far the terrorists have not
    communicated directly with the police...
    but an unidentified man has had
    several conversations which seem to
    indicate...

    Argyle nearly spills his drink as he leans over the front
    seat and turns on the CB.

    CUT TO:

    184 OUTSIDE THE BUILDING - SAME TIME 184

    Signs of activity along the edges and shadows of the area.
    Men and vehicles. The SNAP of weapons and breeches.
    Footsteps running in unison. Powell picks up on this, turns
    to Robinson, who is standing with the SWAT Captain, MITCHELL.

    POWELL
    What's going on?

    ROBINSON
    What's it look like? We're going
    in.

    POWELL
    (flabbergasted)
    Going in...are you out of your mind?
    There's 30 hostages in there -- for
    all we know --

    ROBINSON
    -- all we know? We don't know shit,
    Powell. If there's hostages why
    hasn't anyone asked for ransom? If
    there's terrorists, where's their
    goddamn list of demands? All we know
    is that someone shot up your car, and
    it could be the same flake you've been
    talking to on the radio!

    POWELL
    What about the body that fell out of
    the window -- ?

    ROBINSON
    Who the hell knows? Maybe he was a
    stockbroker who looked at the Dow Jones
    and opted for early retirement!

    MITCHELL
    Chief, we're ready.

    ROBINSON
    I'm coming.

    MITCHELL
    (into radio)
    Rivers.

    RIVERS
    (over radio)
    Yo.

    MITCHELL
    Begin your reconnoiter.

    185 MCCLANE 185

    Inside the building, sadly realizing that the Marlboro pack
    has only two more to go. He savors the dregs of his current
    number, then suddenly becomes aware of an almost EERIE QUIET.
    He moves to the window.

    186 HIS P.O.V. - OUTSIDE 186

    Hints of activity in the darkness. A LIGHT FLARES extinguished.
    Shadows move on trailer walls.

    187 BACK TO SCENE 187

    MCCLANE
    (spooked, into CB)
    Powell? Al, you still with me?
    What's going on? Al?

    INTERCUT:

    188 OUTSIDE 188

    Powell stiffens. Robinson looks at him warningly, shakes his
    head.

    POWELL
    I'm here, Roy, but I'm, uh, kind of
    busy. Let's talk later, okay?

    MCCLANE
    Al, what's wrong? Did something --
    (realizing)
    -- Oh, God. You're coming in! That's
    it, isn't it? Christ, Powell, I told
    you what you're dealing with here --

    POWELL
    I said we'll talk later, Roy. If
    you're what I think you are you should
    know when to listen, when to shut up...
    and when to pray.

    Hating himself, Powell DISCONNECTS, watches LIGHTS snaps on in
    the parking lot to illuminate the area.

    Also hating himself, McClane does the same thing. Pale, he
    moves to a window to watch what he knows is going to be brutal.

    188-A IN HOLLY'S OFFICE - HANS 188-A

    He hunches over his communicator.

    HANS
    They'll be coming. Get ready.
    Theo, watch the screens. Be our
    eyes and ears.
    (pause)
    Wait until they're close.

    188-B EDDIE 188-B

    slips away from the desk, a computer card in his hand. He
    meets up with another terrorist and they move behind a slit
    in the wall. Eddie waves his card at the sensor and a METAL
    GRID crashes into place. They hold their weapons behind it,
    ready.

    188-C VARIOUS SHOTS - TERRORISTS - ON OTHER FLOORS 188-C

    All now with earplugs in their CB's, taking up positions:

    189 AT THE LOBBY DOOR 189

    The SWAT team leader moves in SOP style to the door, scans it
    carefully.

    189-A EXT. CENTURY CITY - ON MITCHELL AND ROBINSON - 189-A
    POLICE BARRICADES

    Mitchell listens to CB radio.

    RIVERS
    (over radio)
    We're in position.

    Mitchell looks at Robinson, who is visible tense. Robinson
    hesitates, then gives his approval with a nod.

    MITCHELL
    (to CB)
    Go.

    190 QUICK SHOTS - INSIDE THE LOBBY 190

    The SECURITY CAMERAS on the walls PAN and ZOOM:

    191 THE VAULT DOOR 191

    Kristoff DRILLS AWAY, is rewarded with the message FIFTH LOCK
    DEACTIVATED. DO YOU WISH TO CONTINUE? Nearby, Theo sits at
    a bank of monitors. Screen after screen pinpoints all the
    police activity outside, down to the last detail. Theo SMILES.
    Suddenly we RECOGNIZE that tune he's been whistling. It's
    "Singin' In The Rain."

    THEO
    (into a throat mike)
    It was the night before Xmas, and
    all through the house, not a creature
    was stirring, expect for the four
    assholes coming in the rear in
    standard 2 X 2 cover formation.

    192 INT. LOBBY - NIGHT 192

    Eddie and another terrorist, ULI, take up prone firing
    positions, using the gaps in the steel partition like gunpoints.

    193 ANGLE ON TWO SWAT OFFICERS 193

    Mitchell and Robinson watch from behind the cover of a police
    car as the SWAT officers remove a portable welding torch and
    begin cutting their way through the locks.

    194 INT. 33RD FLOOR - MCCLANE 194

    He moves painfully to the window and looks out. He can't see
    a thing because of the lights.

    MCCLANE
    (to himself)
    No...

    195 EXT. POLICE BARRICADES - ON MITCHELL AND ROBINSON 195

    Suddenly rifle fire sounds from the building.

    ROBINSON
    (worriedly)
    They're shooting at them

    MITCHELL
    (calmly)
    It's panic fire...they can't see
    anything.

    POWELL
    (under breath)
    They're shooting at the lights.

    More shots ring out from the building going over the SWAT
    officers' heads and suddenly the huge dome of one of the
    spotlights shatters behind Mitchell and Robinson's head.
    The glow fades. A moment later the next light twenty feet
    away dies.

    ROBINSON
    They're going after the lights!

    The two SWAT officers cutting the garage ate suddenly look up
    as their cover starts to disappear.

    ROBINSON
    Call them back.

    MITCHELL
    No, they're almost in.

    Suddenly the third and fourth lights are shot out and the SWAT
    men become sitting ducks.

    196 IN HOLLY'S OFFICE - HANS 196

    He calmly speak into his CB.

    HANS
    Don't get impatient. Just wound them.

    197 INT. LOBBY 197

    Eddie and Uli fire. They hit one of the officers in the leg,
    the second one in the arm.

    198 EXT. POLICE BARRICADES - ON MITCHELL AND ROBINSON 198

    MITCHELL
    (on radio)
    Send in the car!

    An armored car wheels toward the building and starts toward
    the wounded men.

    199 INT. ROOF-MACHINE ROOM/SERVICE ELEVATOR - SAME 199

    JAMES and Alexander quickly load two crates onto the service
    elevator and push the button for the 3rd floor. As the car
    starts down, they remove an anti-tank gun from one of the
    crates.

    200 WITH THEO - WATCHING SCREENS 200

    THEO
    Well, what have we here. The
    police've got themselves an R.V.
    James, Alexander, southeast corner.

    201 INT. 3RD FLOOR - SAME 201

    The service elevator arrives on the 3rd floor and James and
    Alexander move across the room toward the windows with the
    anti-tank weapon. At the window, they prepare the weapon
    for use.

    Outside the window the armored car has stopped in front of the
    wounded man and paramedics quickly load them in from the
    sheltered side of the vehicle. Alexander quickly sights on
    the armored car.

    ALEXANDER
    (to Hans, CB)
    I have them

    HANS' VOICE
    (o.s., over CB)
    Fire.

    202 EXT. THE ARMORED CAR 202

    A blast ROARS from the third floor window and the shell hits
    the armored car. The car pitches forward like a beast whose
    front legs have been shot out from under it -- its front axle
    destroyed, unable to move. Alexander looks back at James and
    grins.

    203 30TH FLOOR - HANS 203

    He watches from his window. Coldly picks up his CB.

    HANS
    Hit it again.

    204 MCCLANE 204

    listening. He picks up his CB.

    MCCLANE
    Hans, you motherfucker, you've made
    your point. Let them pull back!

    HANS' VOICE
    Thank you Mr. Cowboy, I'll take it
    under advisement. His it again.

    McClane slumps to the floor below the window. He feels
    helpless, then notices his kit bag.

    205 3RD FLOOR 205

    James runs back to the crate on the elevator.

    206 EXT. POLICE BARRICADE - ON ROBINSON AND MITCHELL 206

    They look on in horror as the armored car sits helplessly on
    fire. On the police radio channel we HEAR the screams of men
    inside.

    MITCHELL
    (to radio)
    Rivers! Rodriguiz!...Report...

    RIVERS
    (voice over; on
    radio, yelling)
    This is Rivers. We've got one dead.
    Everybody's hit. Rodriguiz's bleeding
    bad. We've got to get the fuck out of
    here!

    MITCHELL
    (to radio)
    Rivers, hang on! That's an order!
    Hang on, we'll get you out.

    207 INT. ELEVATOR CAR - 3RD FLOOR - SAME 207

    James opens the box of shells and takes two and starts back
    across the room.

    208 INT. 33RD FLOOR - CLOSE ON A SHAPE ON PLASTIC 208
    EXPLOSIVE - SAME

    Like a football. It sits on the seat of a secretary's chair
    with castors. We PULL BACK TO SEE McClane press three
    detonators into the top, then cover the explosive with a
    typewriter, tying it securely in place with electrical cords.

    209 ANGLE ON SERVICE ELEVATOR - MCCLANE 209

    wheels the chair to the service elevator, opens the door and
    block them with a fire axe. He looks in -- the top of the car
    can just be seen thirty-five floors below.

    210 INT. 3RD FLOOR 210

    James hands the shell to Alexander, who expertly loads it into
    the anti-tank gun. Alexaneder lifts the gun to his shoulder
    and aims.

    211 INT. 38TH FLOOR 211

    McClane push the chair into the shaft.

    MCCLANE
    Geronimo...motherfuckers.

    For a long moment there is nothing, then: the shaft is filled
    with light, then SOUND -- an ungodly ROAR -- and McClane is
    thrown back across the elevator corridor against the other
    back of doors by the concussion wave.

    212 ON THE 3RD FLOOR 212

    The explosion, like a firestorm, rips across the floor:

    213 BLOWING OUT THE MACHINE GUN NEXT AND JAMES AND 213
    ALEXANDER

    214 SHATTERING WINDOWS 214

    215 SENDING DESKS, CHAIRS, PHONES, AND TYPEWRITERS 215
    FLYING

    216 EXT. AVENUE OF THE STARS 216

    The police take cover behind their cars. Powell, Robinson,
    and Mitchell look like they've seen the face of God as the
    building rocks from the blast. Henry's cigarette falls from
    his mouth as a desk is sent hurtling across Avenue of the Stars
    into the trees across the street.

    217 INT. UNDERGROUND PARKING GARAGE - ON WILLIAM - SAME 217

    watching it on TV, feeling it all around him.

    WILLIAM
    Oh, Jesus...

    218 EXT. DOWN ON THE STREET - SAME 218

    Dick Thornburg's crew is taping.

    THORNBURG
    (in awe)
    Unreal.
    (to the cameraman)
    Did you get all that?

    CAMERAMAN
    Yep.

    Thornburg looks at his competitors still setting up.

    THORNBURG
    Eat your heart out, Channel Four.

    219- OUT OUT 219-
    221 221

    222 ON HOSTAGE FLOOR 222

    The hostages are shaken and the terrorists guarding them
    aren't too sure of themselves either. Only Hans is relatively
    calm.

    FRANCO
    They're using artillery on us -- !

    HANS
    You idiot, it's not the police...
    (pause)
    ...It's him.

    223 ANGLE ON HOLLY 223

    She comforts Ginny.

    224 INT. 32ND FLOOR - MCCLANE - SAME 224

    He sits up and lifts the CB.

    MCCLANE
    Al! Al, the guys in the car, did
    they make it?

    INTERCUT:

    225 EXT. POWELL 225

    on the street, watching as the survivors are pulled out of the
    wreck and to safety.

    POWELL
    (on CB)
    Safe and sound, thanks to you.
    What the fuck was that?

    MCCLANE
    The plastique I found.
    (worried)
    Is the building on fire?

    POWELL
    No, but it's gonna need one hell
    of a paint job and a shitload of
    screen doors.
    (looking off,
    nodding)
    One spotters say you got two with
    that blast.

    MCCLANE
    Two? Are you sure?

    Before Powell can answer Robinson comes running up to him.

    ROBINSON
    Is that him?

    POWELL
    Yessir.

    ROBINSON
    (reaching for Powell's
    CB)
    Give me that.
    (angrily at McClane)
    Now, listen to me, mister, I don't
    know what you think you're doing,
    but demolishing a building doesn't
    fall under the definition of 'help'!
    There's hundreds of people out here
    and you covered half of them in
    pieces of glass --

    MCCLANE
    Glass, my ass! Who the fuck is this?

    ROBINSON
    This is Deputy Chief of Police
    Dwayne T. Robinson, and I'm in
    charge of this situation.

    McClane leans tiredly against the elevator door.

    MCCLANE
    Well, from up here, it looks like
    you're in charge of shit, Dwayne.
    I haven't seen such a fucked up
    operation since the
    Bride of Frankenstein. Ask
    the guys in the armored car if
    they minded a little flying glass.

    ROBINSON
    Listen asshole -- !

    MCCLANE
    (exploding)
    Asshole? I'm not the one who just
    for butt fucked on national TV,
    Dwayne! Now if you're not part
    of the solution, stop being part
    of the problem! Get off the
    Goddamn radio and put Al back on!

    McClane is so furious, he's out of breath.

    226 INT. LIMO - ARGYLE - SAME 226

    Argyle nods in agreement.

    ARGYLE
    Tell 'em, Mr. Mac! Tell 'em!

    227 INT. 33RD FLOOR - ON MCCLANE 227

    still seething. There is a long pause on the CB, then:

    POWELL'S VOICE
    Hello, Roy. How're you feeling?

    MCCLANE
    (pissed)
    Pretty fucking unappreciated.

    INTERCUT:

    228 ON POWELL 228

    Other officers, including Robinson, monitor the conversation.

    POWELL
    Hey, I love you.
    (looking around)
    So do a lot of the guys. So hang
    in there, man. Hang in there.

    MCCLANE
    (tired, touched)
    Thanks...partner.

    229 TV - CLOSE 229

    As it SNAPS ON. We're in the studio set.

    GAIL
    (as the picture
    stabilizes)
    ...of the Nakatomi building,
    sources say that the terrorist
    leader 'Hans' may be this man,
    Hans Gruber.

    A SLIDE of Hans appears behind her. At the same time, the CAMERA
    PULLS BACK. We realize we're on THE HOSTAGE FLOOR, and Hans
    has just turned on the set out here for his "guests". He smiles
    modestly as they "recognize" him from the on air shot, returns
    to the office.

    GAIL
    (on TV)
    A member of the radical
    West German Volksfrei movement.
    Strangely, the Volksfrei leadership
    issued a communique an hour ago
    stating that Gruber has been expelled
    from the organization and is operating
    on his own.

    HARVEY
    (on TV)
    Obviously, Gail whatever his
    affiliation, it's safe to say
    that Gruber's terrorist actions
    in Los Angeles tonight are well,
    terroristic...

    As the bullshit continues, Ellis suddenly STANDS, head towards
    the terrorist "office". Immediately the chief guard here,
    Fritz, moves to intercept Ellis.

    HOLLY
    Where are you going?

    ELLIS
    I'm tired of sitting here waiting
    to see who gets us killed first...
    them...or your husband.
    (to the approaching
    Fritz)
    Hi there.

    HOLLY
    (worried)
    What are you going to do?

    ELLIS
    Hey, I negotiate million dollar
    deals for breakfast. I can handle
    these clowns.
    (to Fritz)
    I want to talk to Hans. Hans!
    Sprickenzie talk?

    He doesn't wait for an answer. Fritz follows him. Holly
    worries.

    230 THE OFFICE 230

    KARL
    (in mid-speech,
    angry)
    -- you wouldn't let me kill him
    when I had the chance --

    HANS
    If you'd listened to me he would
    be neutralized already!

    KARL
    I don't want neutral...I want dead --

    ALL TURN at a rap on the door. Ellis is there.

    ELLIS
    Hope I'm not interrupting...?

    HANS
    (to Fritz)
    What does he want?

    As Fritz shrugs:

    ELLIS
    It's not what I want, it's what
    I can give you. Look, let's be
    straight, okay? It's obvious
    you're not some dumb thug up
    here to snatch a few purses, am
    I right?

    Karl looks at Ellis and then at Hans, as if to say, let me plug
    this asshole right now. But Hans is either amused of curious
    or bored enough to shake his head, turn back to Ellis.

    HANS
    (politely)
    You're very perceptive.

    ELLIS
    (flattered)
    Hey, I read the papers, I watch
    60 minutes, I say to myself, these
    guys are professionals, they're
    motivated, they're happening.
    They want something. Now, personally,
    I don't care about your politics.
    Maybe you're pissed at the
    Camel Jockeys, maybe it's the
    Hebes, Northern Ireland, that's
    none of my business. I figure,
    You're here to negotiate, am I right?

    HANS
    You're amazing. You figured this
    all out already?

    ELLIS
    Hey, business is business. You use
    a gun, I use a fountain pen, what's
    the difference? To put it in my
    terms, you're here on a hostile
    takeover and you grab us for some
    greenmail but you didn't expect a
    poison pill was gonna be running
    around the building.
    (smiling)
    Hans, baby...I'm your white knight.

    HANS
    (dryly)
    I must have missed 60 Minutes. What
    are you saying?

    ELLIS
    The guy upstairs who's fucking things
    up? I can give him to you.

    As Hans reacts with real interest for the first time, we:

    CUT TO:

    231 POWELL 231

    By the CB. He suddenly REACTS to a GROAN from McClane.

    POWELL
    Roy! You all right?

    232 INSIDE - MCCLANE 232

    He's by an open desk drawer, having just ripped open a package
    of twinkies he's found. He grimaces, mouth full.

    MCCLANE
    Yeah, just trying to handle some
    year old twinkies. Yucck. What
    do they put in these things?

    POWELL
    (reciting)
    'Sugar, enriched flour, partially
    hydrogenated vegetable oil,
    polysorbate 60 and yellow dye #5.'

    MCCLANE
    (laughing)
    You sound like a man with a
    couple of kids.

    POWELL
    Not yet, the wife in working on our
    first. You got any kids back on
    the ranch?

    McClane swallows Twinkie with a grimace, takes out his wallet,
    flips it open to a picture of himself and Holly and the kids
    in happier days.

    MCCLANE
    Two. And I'd sure like to see them
    swinging on the jungle gym with
    Al junior.

    POWELL
    It's a date. You buy the ice cream.

    McClane laughs, stares at the photo, when suddenly another VOICE
    besides Powell's comes over his radio.

    HANS' VOICE
    (o.s., on CB)
    Touching, cowboy, touching.
    (pause)
    Or should I call you Mister McClane?
    Mister officer John McClane on the
    NYPD?

    McClane FREEZES. How much do they know?

    233 THORNBURG - IN TRAILER 233

    Reacts, gleeful, writes down the name.

    THORSON
    (to Mary)
    Get on the phone to our New York
    affiliate...move, move!

    234 POWELL 234

    reacts, signals an Aide, who's already writing, too.

    INTERCUT:

    235 MCCLANE AND HANS 235

    MCCLANE
    (fighting to stay calm)
    Sister Teresa in third grade called
    me Mr. McClane. My friends call me
    John Mac. You're neither...shithead.

    HANS' VOICE
    I have someone who wants to talk
    to you. A very special friend who
    was at the party with you tonight.

    McClane's face falls. Oh, God. Eyes closed, he waits for the
    voice that tells him it's all over.

    ELLIS' VOICE
    Hello, John boy?

    McClane's eyes open, showing equal parts of shock and hope.
    In the office, CAMERA ADJUSTS TO SHOW Ellis as Hans gives him
    the CB.

    MCCLANE
    Ellis?

    Ellis has a cigarette, and a terrorist brings him a Diet coke.

    ELLIS
    John, they're giving me a few minutes
    to try and talk some sense into you.
    I know you think you're doing your
    job, and I can appreciate that, but
    you're just dragging this thing out.
    None of us gets out of here until
    these people can negotiate with the
    LA police, and they're just not gonna
    start doing that until you stop
    messing up the works.

    MCCLANE
    (carefully)
    Ellis, what have you told them?

    ELLIS
    I told them we're old friends and you
    were my guest at the party.

    McClane sighs, partially relieved. Hans meanwhile, narrows his
    eyes.

    MCCLANE
    Ellis...you shouldn't be doing
    this...

    ELLIS
    Tell me about it.

    He looks at Hans, who gives him a nod.

    ELLIS
    All right...John, listen to me...
    They want you to tell them where the
    detonators are. They know people are
    listening. They want the detonators
    of they're going to kill me.

    Ellis gives Hans a big "ok" sign. Hans returns it.

    236 INT. POLICE TRAILER - ON POWELL, ROBINSON - SAME 236

    and others listening intently. McClane closes his eyes and
    leans his head back again. He knows what is going to happen,
    even if this poor bastard Ellis doesn't.

    ELLIS' VOICE
    John, didn't you hear me?

    MCCLANE
    (to CB, quietly)
    Yeah, I hear you, you fucking moron!

    ELLIS
    John, I think you could get with
    the program a little. The police
    are here now. It's their problem.
    Tell these guys where the detonators
    are so no one else gets hurt. Hey,
    I'm putting my life on the line for
    you buddy...

    MCCLANE
    Don't you think I know that! Put
    Hans on! Hans, listen to me, that
    shithead doesn't know what kind of
    scum you are, but I do --

    HANS
    Good. Then you'll give us what we
    want and save your friend's life.
    You're not part of this equation.
    It's time to realize that.

    Saying this, Hans takes out his gun, points it at Ellis, smiling.
    Ellis smiles, too.

    ELLIS
    What am I, a method actor? Hans,
    babe, put away the gun. This is
    radio, not television...

    MCCLANE
    That asshole's not my friend!
    I barely know him! I hate his
    fucking guts --
    (desperately sincere)
    -- Ellis, for Christ's sake, tell
    him you don't mean shit to me --

    ELLIS
    John, how can you say that, after
    all these years--? John? John?

    Ellis looks at Hans and shrugs, "Well, I tried..." Hans nods
    understandingly. He takes the CB, presses the TALK button, and
    in one frighteningly smooth motion brings the Walther up to
    Ellis' forehead and PULLS THE TRIGGER.

    CUT TO:

    237 INT. 33RD FLOOR - MCCLANE 237

    He was expecting the SHOT but it still chills him.

    238 30TH FLOOR - HOLLY AND HOSTAGES 238

    She lowers her head sadly. Around her, the others go CRAZY as
    they SEE Ellis' blood splattered on the glass walls on Hans'
    office.

    239 INT. HANS' OFFICE - ON HANS 239

    He throws open the door to let McClane and the police hear the
    screams of the hostages.

    HANS
    Hear that? Talk to me, where are my
    detonators. Where are they or shall
    I shoot another one? Sooner or later...
    (taking a shot)
    ...I might get to someone you do care
    about.

    MCCLANE
    (after a beat)
    Go fuck yourself.

    He DISCONNECTS.

    240 EXT. BUILDING 240

    Powell fends off Robinson, who wants the CB.

    ROBINSON
    Goddamn, didn't you hear him! He
    practically pulled the Goddamned
    trigger himself -- he gave that man
    to them --

    POWELL
    Christ, can't you read between the
    lines! He did everything he could
    to save him...if he gave himself up
    they'd both be dead!

    ROBINSON
    Maybe. And maybe they'd at least
    be talking to us! Now tell your
    'partner' to stay out of it, or so
    help me if he lives through this
    I'll put him behind bars myself!

    POWELL
    (amused)
    He's alone, tired, hunted, and hasn't
    seen diddly-squat from us and you
    think he gives a flying fuck about
    what you're going to do to him?
    Robinson, wake up and smell the shit
    you're shoveling!

    ROBINSON
    (cold)
    Anytime you want to go home,
    Sergeant...consider yourself dismissed.

    They lock eyes.

    POWELL
    No Sir. You couldn't drag me away.

    HANS' VOICE
    (over CB)
    Attention police. Attention police.

    It's asses and elbows time. Tape recorders are started.

    POWELL
    (starting to speak)
    This is --

    ROBINSON
    (taking the CB away)
    This is Deputy Chief Robinson. Who
    is this?

    INTERCUT:

    241 HANS' OFFICE 241

    HANS
    This is Hans Gruber. I assume you
    realize the futility of direct action
    against me. We have no wish for
    further loss of life.

    ROBINSON
    What do you wish for, Mister Gruber?

    HANS
    I have comrades in arms around the
    world who are languishing in prison.
    The American State Department enjoys
    rattling its saber to its own ends...
    now it can rattle it for me.

    INTERCUT:

    242 MCCLANE 242

    Listening to this with expressions ranging from astonishment
    to dismay to outright derisive amusement.

    HANS' VOICE
    ...The following people are to be
    released from their captors: In
    Northern Ireland, the seven members
    of the New Provo Front. In Canada,
    the five imprisoned leaders of
    Liberte de Quebec...

    243 HANS' OFFICE 243

    HANS
    ...in Sri Lanka, the nine members
    of the Asian Dawn movement...

    KARL
    (sotto)
    'Asian Dawn Movement?'

    HANS
    (off-mike, a shrug)
    I read about them in Time magazine.
    (on mike)
    When these Revolutionary Brothers and
    Sisters are Free, the hostages in this
    building will be taken to the roof and
    they will accompany us in helicopters
    to the Los Angeles International Airport
    where you will be given further
    instructions. You have two hours to
    comply.

    ROBINSON
    Two hours? Are you insane? I can't
    authorize...hello? Hello?

    KARL
    Do you think they'll even try to
    do it?

    HANS
    Who cares?
    (on another
    channel)
    Theo. Are we on schedule?

    INTERCUT:

    244 VAULT ROOM 244

    Theo and Kristoff have been rewarded with another LOCK
    DEACTIVATED.

    THEO *
    One more to go...then it's up
    to you.

    The graphic on his screen flashes: "WARNING: ELECTRO- *
    MAGNETIC SEAL ARMED." *

    THEO
    And you better be right, because
    this one's going to take a miracle.

    HANS *
    It's Christmas, Theo, it's the time
    of miracles. So be of good cheer
    and call me when you hit the last
    lock.
    (disconnecting)
    Karl...hunt the little shit down
    and get those detonators.
    *
    KARL
    Franco is checking the explosives,
    Fritz is with him.

    HANS
    I'll check the explosives. You
    just get those detonators.

    245 MCCLANE - 32ND FLOOR 245

    As he talks, he essentially PATROLS the floor he's staked
    out, constantly looking into every dark corner, gun held
    ready, moving toward the stairwell.

    MCCLANE
    Al? Al, you there?

    POWELL
    I'm here, cowboy.

    MCCLANE
    Speaking of cows, did you ever
    hear so much bullshit in your life?
    Two hours? That doesn't even make
    any sense --

    POWELL
    Don't tell me, partner. I'm just
    a desk jockey who was on the way
    home when you rang.

    MCCLANE
    The way you drove that car, I
    figured you for the streets.

    POWELL
    In my youth, partner. In my youth.

    246 INT. TV STUDIO - NIGHT 246

    Gail and Harvey have company, a man from the Senator
    Paul Simon's school of grooming.

    GAIL
    (in mid-speech)
    ...author of...
    (holding up a copy)
    'Hostage/Terrorist, Terrorist/Hostage,
    a Study in Duality.' Dr. Hasseldorf,
    what can we expect in the next few hours?

    HASSELDORF
    Well, Gail, by this time the hostages
    and their captors should be entering
    the early stages of the Helsinki
    Syndrome.

    HARVEY
    As in Helsinki, Sweden?

    247 CONTROL ROOM 247

    Sam sighs, shakes his head.

    HASSELDORF
    (over monitor)
    Uh...Finland. Basically, it's when
    the hostages and the terrorists go
    through a sort of psychological
    transference and projection of dependency...

    248 INT. NAKATOMI - HOSTAGE FLOOR 248

    Fritz drags Ellis' body out of the office and throws it on the
    floor.

    HASSELDORF
    (over Hans' TV)
    What can only be described as a
    strange sort of trust and bond
    develops...We've had situations where
    hostages have embraced their captors
    after their release and in one case
    even corresponded with them in prison...

    249 INT. BUILDING - MACHINE FLOOR 249

    Hans turns, looks up at the ceiling. Too dim up there to see
    from here. He sighs, sets his gun down on a buttress, starts
    to climb up, not enjoying it.

    250- OUT OUT 250-
    253 253

    CUT TO:

    254 OUTSIDE THE BUILDING 254

    Robinson looks at a YOUNG COP, reacts, startled:

    ROBINSON
    The...the FBI? Here? Now?

    YOUNG COP
    Yessir. Right over there.

    Robinson looks at Powell, adjusts his clothing, fixes his tie.

    POWELL
    (dryly)
    You want a breath mint?

    Robinson glares at him, then they move together towards:

    255 A BIG DARK GOVERNMENT CAR 255

    Headlights still on, dominating the area where it sits. Robinson
    steps up, sees:

    256 HIS P.O.V. - FBI AGENTS 256

    They get out. One big back lit SILHOUETTE, one little one.

    BIG JOHNSON
    (showing badge)
    I'm Special Agent Johnson of the FBI.
    This is Agent Johnson...no relation.

    ROBINSON
    (stepping forward, plastic
    smile)
    Dwayne Robinson, LAPD. I'm in charge
    here.

    BIG JOHNSON
    Not any more.

    As Robinson REACTS, we GO TO:

    257 THE MECHANICAL FLOOR - TIGHT ON HANS 257

    He checks the plastique, not pleased. He turns, DROPS to the
    floor.

    258 LOW ANGLE 258

    He lands, knees bent...looks directly at a PAIR OF BARE FEET.
    A GUN BARREL DROPS INTO THE SHOT close to his head.

    MCCLANE
    Lost?

    259 NEW ANGLE 259

    A moment. And then Hans turns, looks up.

    The transformation in his expression and bearing are mind-
    boggling. Hands shaking, eyes filled with fear, he swallows,
    looks up at McClane and in a perfect American accent says:

    HANS
    --ohGodplease -- don't kill me --
    don't kill me -- you're one of them,
    I know it --

    MCCLANE
    (thrown, unsure)
    Whoa, whoa, easy man. I won't hurt
    you. Who are you? What are you
    looking for?

    Hans' eyes dart towards:

    260 THE BUTTRESS TEN FEET AWAY 260

    Where a tiny piece of his gun sticks out, barely visible.

    261 BACK TO SCENE 261

    HANS
    A way up to the roof...I thought I
    could signal for help --

    He starts in that direction.

    MCCLANE
    Forget it. They got a guy up there.
    You want to stay alive, keep moving.
    Hey? You hear me?

    Hans realizes this tack won't work. He follows McClane.

    HANS
    You...you're an American?

    MCCLANE
    (friendly, easing the
    man's fears)
    Only if New Jersey counts.

    It works. The poor frightened civilian shows a hint of a smile.

    CUT TO:

    261-A OUTSIDE BUILDING 261-A

    ROBINSON
    (in mid-speech to FBI)
    We've got thirty, maybe thirty-five
    hostages, probably on the 30th floor...
    seven, maybe eight terrorists.

    LITTLE JOHNSON
    (to Big Johnson)
    Sounds like a standard A-7 scenario.

    Big Johnson nods in agreement, turns to Robinson.

    BIG JOHNSON
    Thank you. We'll handle it from
    here. When we need to commandeer
    your men, we'll try and let you know.

    He starts to move away with his partner.

    POWELL
    (angry)
    Aren't you forgetting something?

    Johnson and Johnson turn. Robinson wants Powell to shut up.

    BIG JOHNSON
    Such as...?

    POWELL
    (pointing to the building)
    John McClane! He's the man who gave
    us all the information we've got!
    He's the reason you're facing seven
    terrorists instead of twelve.

    LITTLE JOHNSON
    He's inside? Who is he?

    ROBINSON
    (nodding)
    He may be a cop...we're checking
    on that --

    BIG JOHNSON
    One of yours?

    ROBINSON
    (too quickly)
    No, sir.

    BIG JOHNSON
    (after a moment)
    If he's not a terrorist, and he's
    not a hostage...he's just not part
    of the equation.

    They start to walk away.

    POWELL
    (indignant)
    T...that's the same Goddamn thing
    the terrorists said!

    LITTLE JOHNSON
    (interested)
    Really?
    (to Big Johnson)
    That's one good thing. Sound like
    we're dealing with pros.

    They leave.

    CUT TO:

    262 THE COMPUTER FLOOR 262

    McClane and Hans walk together. Hans is still a "nervous wreck."

    HANS
    (nodding)
    There was a party -- celebration --
    all of a sudden they were there --
    shooting -- threatening us --

    263 CLOSER SHOT 263

    McClane looks at this poor civilian, on the edge of going to
    pieces. He puts his hand on his shoulder.

    MCCLANE
    Relax, man...you smoke?

    Hans nods, still "frightened". McClane takes out his spoils
    of war, the Marlboros. Two left. He sighs, takes one, offers
    the other one with an expression like a little boy forced to
    share a cookie. McClane takes out a lighter, does his and
    Hans'. Hans nods, grateful...then peers at McClane.

    HANS
    You...you don't work for Nakatomi...
    and if you're not one of them...

    MCCLANE
    I'm a cop from New York.

    HANS
    (puzzled)
    New York...

    MCCLANE
    (explaining)
    They invited me to the Xmas party.
    Who knew?

    Hans' eyes take in his bare feet.

    MCCLANE
    Better than being caught with your
    pants down, right?
    (extending his hand)
    John McClane.

    HANS
    (shaking hands)
    William Clay.
    (smiling)
    Call me Bill.

    McClane nods, friendly like, and his eyes glance casually over
    at:

    264 THE WALL - A ROSTER OF NAKATOMI EMPLOYEES 264

    In alphabetical order. CAMERA MOVES OVER the "c's": CAMPBELL,
    S.: CLAY, WM.: CRAWFORD, L...PANS BACK TO CLAY.

    265 BACK TO SCENE 265

    MCCLANE
    Bill, you know how to use a handgun?

    HANS
    (hesitant)
    One weekend I went to a combat ranch...
    (apologetic)
    You know, that game with the, the guns
    that shoot red paint? Must sound
    pretty silly to you...

    MCCLANE
    Sounds better than nothing.

    McClane takes out his Baretta, pops out the magazine, jams in
    a fresh one and hands it to him.

    MCCLANE
    Time for the real thing.

    McClane turns, moves on...we STAY ON him until he REACTS to a
    CLICK. He slowly turns:

    265-A NEW ANGLE 265-A

    Hans is...well, Hans again, from expression to posture. He
    holds the pistol aimed at McClane's face and talks calmly into
    his radio in German.

    HANS
    Karl! Franco! I'm on 33. Come
    quickly.
    (to McClane)
    Put down your gun and give me my
    detonators.

    McClane just looks at him.

    MCCLANE
    Hans. Your Hans.

    HANS
    (nods, indicating McClane's
    gun again)
    Put it down now.

    MCCLANE
    That was tricky, with the accent.
    I bet you do a great Ed Sullivan.
    Why do you need the detonators, Hans?
    I already used the explosives.

    HANS
    I'm going to count to three...

    MCCLANE
    (cold)
    Yeah. Like you did with Takagi.

    McClane raises his machine gun, aims at Hans. Hans PULLS THE
    TRIGGER.

    Click. Astonishment. Click-click-click. McClane steps in
    carefully, reclaims his pistol.

    MCCLANE
    You think I'm a shmuch, Hans.

    Hans pales as we hear the ding of an approaching elevator.

    HANS
    You were saying.

    McClane whirls in time to see:

    266- OUT OUT 266-
    269 269

    260 KARL, FRANCO AND FRITZ 270

    Coming out of it, FIRING.

    271 BACK TO SCENE 271

    McClane FIRES back, killing Fritz. Karl and Franco take
    cover. McClane ducks into a water cooler alcove, looks back
    at:

    272 WHERE HANS WAS 272

    He's gone, a SWINGING OFFICE DOOR the only evidence of his
    passing.

    273 BACK TO SCENE 273

    McClane curses himself, then RETREATS into a:

    273-A- OUT OUT 273-A-
    273-I 273-I

    274 BANK OF COMPUTERS 274

    Where he DUCKS and DODGES as bullets ping and ricochet all
    around him. Ducking, rolling, he FIRES at:

    275 FRANCO 275

    McClane's bullets RAKE his middle, throw him over a desk, his
    weapon FLYING:

    276 CLOSER 276

    He SLIDES right into a glass door. It smashes around his head.
    Bright arterial BLOOD fountains up:

    277 MCCLANE 277

    hope rising at the prospect of an equal battle, his face
    suddenly FALLS as BULLETS fly in from an unexpected direction.
    He turns:

    278 HANS 278

    has reappeared and snatched up Franco's weapon.

    279 MCCLANE 279

    FIRES, moving, trying to keep from bring flanked. One of his
    shots SHATTERS a glass panel, raining down shards near Hans,
    who escapes with only superficial scratches.

    280 HANS 280

    looks at the glass around him, gets an idea. He SHOUTS to
    Karl in German:

    HANS
    The glass! Shoot the glass!

    And, saying this, he demonstrates. Karl follows suit.

    281 MCCLANE 281

    as GLASS FLIES EVERYWHERE, McClane sees one option, takes it.
    BLASTING a burst to keep their heads down, he WHIRLS, JUMPS
    on top of a long counter and RUNS ACROSS THE ROOM. Their
    BULLETS follow him, six inches behind his moving form! Big
    CRAY UNITS GROAN with electronic SQUEALS and SPARKS as a
    million Gigabytes goes to RAM heaven. McClane reaches the end
    of the counter, DIVES and rolls to the floor:

    282 HIS FOOT 282

    goes right down on a jagged SHARD. He GROANS, keeps going:

    283 STAIRWELL DOOR 283

    He's out, gone, safe!

    284 BACK TO SCENE 284

    Karl looks pissed as hell. Behind him, Hans sifts through
    rubble, then comes over, smiling.

    He's holding the bag of detonators.

    HANS
    Smile, Karl. We are back in business.

    CUT TO:

    285 INT. TV TRAILER 285

    HASSELDORF
    (on monitor here)
    ...all depends on what we mean by
    "Terror.' If Clauswitz could say
    'War is the last resort of Deplomacy,'
    couldn't we just as well say that
    terrorism has an equal claim to...

    Mary comes inside, grinning ear to ear. Thornburg looks up from
    his danish, a cute little chin napkin protecting his shirt
    collar.

    THORNBURG
    You got something?

    MARY
    (waving a paper)
    Just McClane's name, badge number,
    police record, vital statistics...
    (the ringer)
    ...And his family's address right
    here in L.A.

    As Thornburg GRINS we GO TO:

    286 HOSTAGE FLOOR 286

    Eddie and Uli are guarding the hostages. Hans and Karl return.
    Hans tosses the bag of detonators to Uli, who grins, leaves.

    287 HOLLY AND GINNY 287

    Holly has watched all this nervously. But Ginny's eyes follow
    Karl, who doesn't share the mood of the others.

    GINNY
    That one look pissed, Ms. Gennero...

    HOLLY
    (relieved)
    Thank God.
    (explaining)
    He's still alive.

    CUT TO:

    288 UPSTAIRS - WASHROOM 288

    The door JARS open. McClane all but crawls inside. As he
    passes the CAMERA we SEE his dragging foot leaving a trail
    of blood on the linoleum.

    CUT TO:

    289 VAULT ROOM - SAME TIME 289

    Theo and Kristoff REACT, delighted, as they get the message
    SIXTH LOCK DEACTIVATED. Suddenly a BUZZER SOUNDS and the
    graphic flashes: "ELECTROMAGNETIC SEAL ENGAGED. CANNOT
    BE DISARMED AT THIS LOCATION. TERMINATE SEQUENCE (Y/N)?"

    THEO
    You better heat up that miracle *
    you were talking about. We broke
    through on Number Six, and the
    Electromagentic came down like a
    sledgehammer...

    INTERCUT:

    290 HANS' OFFICE 290

    HANS
    (unphased) *
    Well have a look at what our friends
    outside are doing and I'll be right
    up.

    291 INT. BATHROOM - NIGHT 291

    Wincing in pain, McClane washes his foot in a sink basin. He
    washes a deep cut, soaps it, but the pain doesn't relent.
    When a VOICE speaks, he JUMPS, realizes it's the CB.

    POWELL
    (on CB)
    Roy? You still with us?

    MCCLANE
    Yeah. But all things being equal,
    I'd rather be in Philadelphia. By
    the way, chalk up two more terrorists.

    INTERCUT:

    292 POWELL - OUTSIDE 292

    POWELL
    They boys'll be glad. We got a pool
    going on you.

    McClane tries to wrap paper towels on the foot but his grimace
    shows that is still hurts like hell.

    MCCLANE
    (through his teeth)
    Yeah? What's the odds?

    POWELL
    You don't want to know.

    Suddenly remembering an NYPD course in first aid from ten years
    ago, McClane removes the improvised bandage, check the cut
    more carefully.

    MCCLANE
    (as he work)
    Put me down for twenty anyway...I'm
    good for it...so, what got you off the
    street, Al? You liked lousy coffee,
    or what?

    Powell doesn't answer right away. At the same time, McClane
    swallows, seeing a gleam inside his foot. He gingerly probes,
    and pulls out a shard of glass almost three inches long from its
    angled gash, his mouth twisted in a silent scream all the way.

    POWELL'S VOICE
    I...realized I couldn't do what I
    had to anymore...at least not out
    there. I had an...accident.

    McClane throws the glass across the room, forehead bathed in
    sweat.

    MCCLANE
    (weakly)
    They way you drive, I can see why.

    POWELL
    (beat, serious)
    I...I shot a kid.

    Realizing what he's hearing for the first time, McClane's face
    shifts to a new kind of pain.

    POWELL
    (soft)
    Eleven years ago. Oh, it was dark...
    he was big for his age...damn ray gun
    he had looked real enough...yeah, I had
    all the right excuses...but afterwards...
    I really couldn't draw my gun again.

    MCCLANE
    I...I'm sorry. I didn't mean to make
    a joke of it.

    POWELL
    (offhand)
    Hey, you couldn't know.

    MCCLANE
    I still feel like shit.

    POWELL
    Then this won't matter.
    (reluctantly)
    LAPD's not calling the shots anymore.

    And as McClane REACTS we GO TO:

    293 INT. VAULT ROOM - NIGHT 293

    Hans and Theo lean over a monitor watching a DWP truck near
    the parking garage.

    THEO *
    (tapping the screen)
    There's the city engineers...they're
    going into the street circuits...But
    who are these guys in the suits?

    HANS
    That's the FBI...ordering them to cut *
    the building's power. They're as
    regular as clockwork...or a time lock...

    ON Theo's look:

    HANS
    ...the circuits that cannot be cut...
    are cut automatically in reponse to
    a terrorist incident...You ask for
    miracles, Theo...I give you the FBI...

    THEO
    When you're hot, you're hot.

    CUT TO: *

    294 EXT. BUILDING 294

    As we saw on Theo's screen, the Johnsons and Robinson and
    Powell are my a MANHOLE with a CITY ENGINEER. A big CONTROL
    BOX is there, cables snaking into the ground where another
    CITY WORKER finishes WELDING a last connection.

    GUY IN MANHOLE
    We're spliced in down the line.

    LITTLE JOHNSON
    Do it...now.

    The engineer THROWS GIANT LEVERS. Inside the manhole, SPARKS
    SIZZLE and massive contacts CLUNK.

    295 THE BUILDING 295

    One by one, all the light on all the floors GO OUT.

    296 MCCLANE 296

    in the bathroom, ripping off his shirt and tying it around his
    foot, he REACTS --

    MCCLANE
    (into CB)
    Powell? What's going on?

    INTERCUT:

    297 OUTSIDE 297

    POWELL
    (watching the others)
    Ask the FBI. They've got the terrorist
    playbook and they're running it, step
    by step.

    McClane reacts, worried; he knows better.

    298 THE HOSTAGES 298

    groan with this new problem:

    299 THE VAULT ROOM 299

    Theo and Kristoff and Hans huddle over the computer monitor
    screen as if it was a warm fireplace. Theo points to the
    computer screen; all they can do is wait.

    We HEAR the HUMM of a portable generator. The lights go OFF.
    The computer screen stays ON. Theo looks over at the safe.

    300 SAFE LED READOUT 300

    It still reads "FIBER OPTIC TIME LOCK CANNOT BE DISARMED AT
    THIS LOCATION. TERMINATE SEQUENCE (Y/N)?"

    301 BACK TO SCENE 301

    KRISTOFF
    Damn! It didn't go!

    THEO
    They're on the building circuit...
    it's too local.

    HANS
    Encourage them to be bolder.

    THEO
    The only thing left for them is the
    City Grid...
    (worried, typing)
    ...They may not do it.

    302 EXT. BUILDING 302

    Just as the Johnsons are looking SMUG...all the floors GO
    BACK ON, one by one!

    LITTLE JOHNSON
    Shit!
    (turning, to the
    Engineer)
    Cut it again. Go wider.

    ENGINEER
    I can't go wider here...
    (to Robinson, looking
    for help)
    ...I'd have to call downtown have
    them take down one of the city
    grids...you're talking ten square
    block --

    ROBINSON
    -- ten blocks?
    (to Big Johnson)
    Are you crazy? It's Christmas Eve,
    thousands of people -- the Mayor'll
    scream bloody murder --

    BIG JOHNSON
    (ignoring Robinson,
    to the Engineer)
    We must shut down the building. Go
    wider --!

    ENGINEER
    I need authorization --

    BIG JOHNSON
    Authorization? How about the
    United States Fucking Government?
    Lose the grid or lose your job!

    The engineer looks at Robinson. No help. The engineer looks
    at his guy in the manhole, shrugs. No choice.

    ENGINEER
    (takes phone)
    Central. This is Walt, out at
    Nakatomi. I want you to shut down
    grid 212.
    (listens)
    No shit, it's my ass. Just shut it
    down now.

    Pause...pause...AND THEN THE FLOORS OF THE BUILDING ALL GO
    OUT AGAIN.

    303 IN THE VAULT ROOM 303

    EMERGENCY LIGHTING FLICKS ON. An ALARM "beep-beep-beeps."

    304 THE LED READOUT ON THE SAFE 304

    changes to "FIBER OPTIC TIME LOCK DEACTIVATED AT SOURCE.
    SEVENTH LOCK DISENGAGED."

    305 BACK TO SCENE 305

    With a dramatic HUM worthy of 2001, the vault door OPENS!

    306 OUTSIDE 306

    The FBI guys look at the dark building, than at the LAPD guys.

    BIG JOHNSON
    That should shake'em up. With all
    the power shut down, those bastards
    are probably scared shitless.

    307 IN THE VAULT ROOM 307

    The safe door finishes its ponderous move, CLUNKS to a halt.
    Theo and Kristoff LAUGH, give each other high fives. Even Hans
    loses his usual cool, slaps Theo on the back as Theo and
    Kristoff CHEER.

    CUT TO:

    308 THORNBURG'S TV TRUCK 308

    drives along a residential street. We SEE the Nakatomi tower
    in the b.g., spotlit by the police beams. Thornburg checks a
    map, POINTS a turn out to the driver.

    CUT TO:

    309 OUTSIDE THE NAKATOMI BUILDING 309

    Powell looks up at the dark structure lit only by emergency
    lighting. He sidles over to the FBI men.

    POWELL
    (dryly)
    What do we do now, arrest them for
    not paying their electric bill?

    LITTLE JOHNSON
    (sharply)
    We let them sweat awhile. Then, when
    they're expecting helicopters...
    (pause)
    ...We give them helicopters...

    BIG JOHNSON
    (nodding)
    Right up the ass.
    (into another communicator)
    This is Johnson...no the other one. I
    want that air support ready to lift off
    in five minutes...Damn right fully
    armed. We're on our way.
    (into CB)
    Attention in the building.

    INTERCUT:

    310 VAULT ROOM 310

    Hans talks while Theo and Kristoff tackle the problem of
    unloading the racks and racks of bonds and transferring them
    to the black cases.

    HANS
    This is Hans...

    BIG JOHNSON
    This is Agent Johnson of the FBI.
    The State Department has arranged for
    the release of your comrades. The
    helicopters you requested are on the
    way.

    HANS
    I hear you, FBI. We'll be ready.

    He disconnects, smiles at Theo.

    HANS
    When they touch down and we blow the
    roof, they'll spend a month sifting
    through the bodies and rubble. By the
    time they figure out what went wrong...
    (smiling at the
    irony)
    ...we'll be earning twenty percent
    like nice fat Capitalists.

    BIG JOHNSON
    (disconnecting, grinning)
    By the time he figures out what hit him
    he'll be in a body bag.

    The Johnsons exit. Powell and Robinson look at each other,
    unhappy. Powell's CB HISSES --

    MCCLANE'S VOICE
    Powell, listen...

    Powell moves off to be alone.

    INTERCUT:

    311 INT. BATHROOM 311

    POWELL
    I'm here, John.

    McClane tries walking on his foot. He winces in pain, clearly
    at the end of his resources.

    MCCLANE
    (long pause)
    Look...I'm getting a bad feeling up
    here...I'd like you to do something
    for me. Look up my wife...don't ask
    how, you'll know by then...and tell
    her...tell her...I've been a jerk.
    When things panned out for her, I
    should've been behind her all the way
    ...We had something great going until
    I screwed it up...She was the best
    thing that ever happened to a bum
    like me. She's heard me say I love
    you a thousand times, but she never
    got to hear this...honey...I'm sorry.
    (pause)
    You get all that?

    POWELL
    (clearly touched)
    I got it. But you can tell her
    yourself. Just watch your ass and
    you'll make it.

    MCCLANE
    I hope so. But that's up to the
    guy upstairs.
    (pause; struck by
    a thought)
    Upstairs...
    (thinking, to himself)
    ...Hans, you bastard...what were you
    doing?

    POWELL
    Roy?

    MCCLANE
    Stand by, Powell. I gotta check
    something out.

    He moves towards the door, limping hurriedly out of the room.

    CUT TO:

    312 HOLLY'S FRONT DOOR 312

    Thornburg's got one foot literally in the doorway, but since
    Paulina still has the chain on, it's not quite enough.

    THORNBURG
    (to Paulina)
    One minute, that's all we ask. You
    could be denying them their last
    chance to talk to their parents.

    PAULINA
    I'm sorry...Mrs. Holly says I
    couldn't let strangers into --

    THORNBURG
    Strangers? I'm with KFLW TV, that's
    affiliated with the FCC, and I'm sure
    you know that's the United States
    government...just like the INS?

    As she wavers...

    CUT TO:

    313 THE MECHANICAL FLOOR 313

    McClane hobbles in here, favoring his foot. He retraces his
    steps earlier, mentally replaying his meeting with Hans.

    MCCLANE
    I was here...he was...

    His eyes flick over the area...then he looks up. Seeing
    something, he moves closer. He sets down his CB and then, with
    difficulty, he climbs up on a thick pipe, flicks his lighter
    and hold its high.

    314 HIS P.O.V. 314

    Explosives are everywhere.

    315 BACK TO SCENE 315

    He reacts, quickly extinguishing the lighter. He follows the
    detonator lines with his eyes.

    MCCLANE
    Oh my God...

    He drops to the floor, winces in pain, picks up his CB.

    MCCLANE
    Powell! Powell, listen to me! You're
    being double crossed! The whole roof
    of this building is --

    Suddenly a GUN BARREL is pressed against his head. He stiffens.

    316 NEW ANGLE 316

    Karl takes his Baretta, tosses it away. Then Karl takes the
    CB. Smiling, Karl SMASHES the transmitter underfoot.

    CUT TO:

    317 EXT. BUILDING - POLICE LINES 317

    Powell is beside one of the radio monitoring officers.

    POWELL
    (into CB)
    Roy? Hello? Hello?
    (to the officer)
    I thought you had him.

    OFFICER
    I did. He said something about a,
    a double cross...

    POWELL
    (looking off)
    Tell me about it.

    318 NEW ANGLE 318

    Showing two HELICOPTERS in the distance heading this way.

    CUT TO:

    319 MACHINE FLOOR 319

    Karl hovers over McClane, who hasn't moved a muscle.

    KARL
    (quietly)
    We're both professionals. But this
    is personal. You...are done.

    WHAM! McClane DRIVES his elbow into Karl's face.

    320 NEW ANGLE 320

    Karl's weapon clatters on the floor. McClane follows his first
    blow with another. Karl recovers, and with a spinning karate
    kick SLAMS McClane back.

    CUT TO:

    321 HOSTAGE FLOOR - NIGHT 321

    Eddie turns from a window, where the chopper lights loom closer.

    EDDIE
    They're coming.

    CAMERA PANS across the room to the doorway of the office, where
    Hans nods, stands.

    THORNBURG'S VOICE FROM TV
    -- I know you're proud of your daddy...

    322 CLOSEUP - HOLLY 322

    She's speechless, watching in shock as:

    323 THE PORTABLE TV 323

    shows Thornburg at Holly's house! He's squatting down with his
    microphone to interview the children in their P.J.s. His voice
    is soft, comforting.

    THORNBURG
    (to the children)
    ...because he's a very brave policeman.
    And your mom has shown just as much
    courage. But is there something you
    would like to say to them if they're
    watching?

    John Jr. says nothing, but Lucy looks at the camera.

    LUCY
    Come home.

    324 HOLLY 324

    She struggles to stay composed...can't. She slowly turns her
    head, looks at Hans.

    325 HER P.O.V. - HANS 325

    He's looking away from us, at the picture of the children on
    her desk. He turns back and looks at her. He smiles.

    HANS
    Mrs. McClane. How nice to make your
    acquaintance.

    He raises his weapon...but he only shoot it into the ceiling,
    making everyone jump!

    HANS
    (shouting)
    On your feet, everyone! Upstairs,
    now!
    (quietly, to Uli)
    You'll lock them up there and come
    right down...

    Uli nods and he and Eddie help herd everyone towards the stairs.
    Hans moves forward...grabs Holly himself.

    CUT TO:

    326 THE MACHINE FLOOR 326

    McClane and Karl move towards each other, each sizing the other
    up, each looking over the terrain.

    MCCLANE
    Better this way, isn't it? I mean,
    any faggot can shoot a gun.

    This time Karl doesn't take the bait. Then, when he
    does charge, it's unexpected.

    The two men fight brutally, Karl bringing years of martial
    training to this moment, McClane bringing nothing but the street.

    327 NEW ANGLE 327

    MCCLANE
    You should've heard your brother
    scream when I broke his fucking
    neck...

    Karl steps in quickly with a deadly move. McClane twists free,
    slams an elbow into Karl's kidney. Karl backs off, circles
    McClane with new respect.

    CUT TO:

    328 INSIDE AN FBI CHOPPER - IN FLIGHT 328

    THROUGH THE CANOPY we SEE another flanking chopper. Johnson
    and Johnson are here, helmets and mikes on. Big Johnson checks
    aerial maps while Little Johnson checks ammo clips for his
    sniper scoped assault rifle.

    BIG JOHNSON
    (shouting, to the pilot)
    Stay low. They're expecting transports,
    not gunships.

    LITTLE JOHNSON
    (shouting over the noise
    of the rotors)
    What do you figure on breakage?

    BIG JOHNSON
    I figure we take out all the terrorists,
    and lose 20 percent of the hostages...
    25, tops.

    LITTLE JOHNSON
    I can live with those numbers.

    CUT TO:

    329 VAULT FLOOR 329

    Theo and Kristoff load the bonds into the big cases which carried
    all their gear when they entered. As Hans and Eddie come in they
    look curiously at Holly.

    HANS
    A little bonus for us.
    (shoving her forward
    violently)
    A policeman's wife might come in
    handy.

    He picks up a CB, speaks into it.

    HANS
    McClane! McClane! I have some news
    for you...McClane?

    330 THE MACHINE FLOOR 330

    TILT UP from the CB radio Karl smashed.

    Karl and McClane are in the b.g., almost toe to toe, all their
    tricks played out, going at it with animal instinct.

    331 THE VAULT ROOM 331

    HANS
    McClane?
    (pause, then on a
    new channel)
    Karl? Karl?

    Nothing. He looks at Theo.

    HANS
    Hurry.

    332 THE ROOF 332

    Uli herds the hostages up onto the roof, pushing the last few
    out.

    333 LONG SHOT - FBI CHOPPERS - DOWN AVE. OF THE STARS 333

    They float toward us, hugging the street, their prop wash
    shaking the trees.

    334 POWELL AND ROBINSON 334

    Following them with their eyes, for once sharing the same opinion.

    335 HOSTAGES ON THE ROOF 335

    They see their very own Christmas decorations, the friendly
    copter lights, and begin to smile and cheer. Uli smiles to
    himself, moves towards the door:

    336 VAULT ROOM 336

    Theo closes the lid of a bond-stuffed case, carries it out of
    the room. Holly's eyes follow his exit while the others continue.

    HOLLY
    (to Hans, scornfully)
    After all your posturing, all your
    speeches...you're nothing but a common
    thief.

    HANS
    I'm an exceptional thief, Mrs. McClane.
    And now that I'm moving up to kidnapping,
    you should be more polite.

    He SLAPS her.

    337 MACHINE FLOOR 337

    Karl drives McClane back with a sweeping head kick. Another one.
    McClane is staggering. He gets in one hard punch and then Karl
    charges at him. McClane falls backwards, drives his legs
    upwards, propelling Karl into the air:

    338 LOW ANGLE 338

    Karl goes into a loop of chain hanging over a turbine, becomes
    entangled.

    339 MCCLANE 339

    jumps to his feet, yanks the other end of the chain.

    340 KARL 340

    is JERKED upwards by the neck. He TWITCHES like a captured
    fish -- starts to turn blue:

    341 MCCLANE 341

    Twists the chain end around a pipe as Karl STILLS. McClane
    snatches up his Baretta from the floor, runs out.

    CUT TO:

    342 CHOPPERS - IN THE AIR 342

    We can SEE the tailing 'chopper through the open port of this
    one. Big Johnson leans over, slaps the shoulder of his pilot.

    BIG JOHNSON
    Just like Saigon, eh, Wally?

    PILOT
    My kind of town.

    CUT TO:

    343 THE ROOF 343

    The door rattles. His back to the CAMERA, Uli goes to the door,
    OPENS it -- and TWO BULLETS COME OUT HIS BACK. Smoking Baretta
    in hand, McClane vaults over the body before it has even stopped
    twitching. As the hostages SQUEAL and SCREAM, McClane snatches
    up Uli's machine gun, runs out onto the roof. He charges
    through the crowd, spots Ginny near the edge of the roof. She
    meets him halfway.

    MCCLANE
    Where's Holly --

    GINNY
    The took her -- after they saw the
    kids on television --

    MCCLANE
    What? God --

    He looks off to the choppers. Closer yet. He turns, SHOUTS.

    MCCLANE
    Listen to me! All of you, get down
    to the lower floors -- you're all
    in danger.

    HOSTAGE
    What are you, crazy? We're being
    rescued! Those helicopters --

    MCCLANE
    -- there won't be shit for those helicopters
    to land on, because the whole top of this
    building is wired with explosives! Now
    get below --

    SECOND HOSTAGE
    But...we're safe up here --

    MCCLANE
    Safe, my ass! This ain't a helipad,
    it's a launching pad!

    And he FIRES over their heads! They SCREAM, head for the door
    as he hoped! He FIRES again, raking a line across the roof.
    They really haul ass.

    MCCLANE
    GET BELOW! NOW!

    344 IN THE WING CHOPPER - MID-AIR 344

    A YOUNG FBI AGENT is here with a rifle and a partner.

    YOUNG FBI
    (into throat mike, looking
    out the door)
    Flight leader, this is Wing. I think
    they're on to us. One of the terrorists
    is firing on the hostages.

    345 INSIDE THE OTHER CHOPPER 345

    LITTLE JOHNSON
    (into mike)
    Roger, Wing. We copy.
    (to the pilot)
    Swing around.
    (raising his rifle)
    Give me a clear shot.

    The pilot nods.

    346 INT. VAULT ROOM 346

    HANS
    (supervising the work)
    Schnell, schnell...der zeitz ist kurz...

    Something catches his eye. He turns, looks at:

    347 VIEW THROUGH WINDOW -- HIS P.O.V. 347

    Through the glass here he can catch a glimpse of the hostages
    coming back into the room!

    CUT TO:

    348 THE ROOF 348

    McClane herds the last of the hostages inside, starts for the
    door himself, when with a ROAR and a CHATTER of rotors, the
    lead chopper zooms overhead! McClane throws himself down on the
    ground, looks up as the chopper banks in a tight turn and then
    from the open side GUNFIRE erupts! Shocked, McClane DIVES out
    of the way of the bullets that stitch across the door.

    349 HOSTAGES - ON LOWER FLOORS (OR IN STAIRWELL) 349

    descending, SCREAMING and HOWLING as a chopper SWEEPS past a
    window on a loop back towards the roof.

    350 IN THE CHOPPER 350

    Both Johnsons FIRE AWAY

    BIG JOHNSON
    Bank and we'll nail him!

    351 THE VAULT ROOM 351

    Hans whirls towards Kristoff.

    HANS
    Blow the roof. Now!

    KRISTOFF
    But Karl and Uli are up there --

    CAMERA ADJUSTS to show the remote detonator on a table. Hans
    goes to it.

    352 THE ROOF 352

    McClane DIVES away from another burst.

    MCCLANE
    You assholes, I'm on your side -- !

    They come in on another pass. Desperate, he looks around, see
    a fire hose. Makes up his mind. With the chopper LOOMING UP
    behind him, he slings Uli's weapon, runs to the fire hose,
    unreels three yards, loops it around his back and under his legs.
    He looks over the edge, hesitates:

    MCCLANE
    Fuck this...

    Bullets HIT all around him. He JUMPS:

    353 THE VAULT ROOM 353

    Hans extends the antenna...HITS the button.

    354 LONG SHOT - THE ROOF 354

    The helipad EXPLODES! A FIREBALL rolls into the sky.

    355 THE HOSTAGES 355

    lose their footing on the floor. Dust and debris fall down,
    but they're okay.

    356 JOHNSON AND JOHNSON'S CHOPPER 356

    STRAINS to avoid the rising fireball...can't! It's CAUGHT in
    the explosion! It tips over, a rotor hits the roof -- it
    CRASHES, EXPLODES, tumbles down the side of the building!

    357 MCCLANE 357

    Dangling against the side of the building, he DUCKS and winces
    as FLAMING DEBRIS soar past him.

    358 THE ROOF - HOSE WHEEL DEVICE 358

    Flame ROARS TOWARDS it, engulfs it. It JERKS on its foundation
    PIVOTS 180 degrees as several bolts slip:

    359 MCCLANE 359

    DROPS several more feet. He swallows, then KICKS against the
    side of the building, his bloody feet leaving smears. The
    shatterproof glass doesn't budge! Wincing as more FLAMING DEBRIS
    sizzles by, McClane levels the machine gun, KICKS off from the
    building, SWINGS back ten feet -- reaches the zenith of his
    arc -- FIRES the gun and sails back in:

    360 INSIDE THE BUILDING 360

    McClane SMASHES through the shattered glass, SAILS inside, rolls
    onto the floor, PLOWING through furniture and decor. Finally
    he STOPS, catches his breath with relief...rises to one knee:

    361 UP ON THE ROOF 361

    The fire hose mounting is BLASTED off the roof, SAILS past the
    CAMERA:

    362 OUTSIDE THE BUILDING 362

    The hose mechanism tumbles downward!

    363 INSIDE 363

    McClane is YANKED off his feet, dragged towards the window!

    364 THE HOSE WHEEL - OUTSIDE 364

    It SLIDES down the side of the building! The hose PLAYS OUT
    on the edge of the windowsill, dragging McClane towards his death!

    365 MCCLANE 365

    CLAWS at the floor...no help. Inches from the shattered window,
    he braces his legs against the sill, groans as he fights the
    weight of the hose and the reel. One foot SLIPS. Only his
    already wounded foot keeps him indoors.

    He scrambles to untie his improvised rappeling rig -- gets free
    just before the hose nozzle CRASHES out and into the great beyond!

    Winded, strength ebbing, he staggers to his feet -- just in time
    for:

    366 THE ROOF 366

    to RECOIL from another staggering explosion!

    367 THE HOSTAGES 367

    They scream, cry out:

    368 IN THE VAULT ROOM 368

    As Holly covers her head from falling plaster, the men work
    like automatons, piling up the bonds.

    369 MCCLANE 369

    recovers from another AFTERSHOCK, runs up the steps -- is
    momentarily amazed to HEAR a "ding" from the elevator -- he looks
    at:

    370 THE SHAFT 370

    where suddenly the WALL EXPLODES OUTWARD as an ENTIRE ELEVATOR
    CRASHES THROUGH THE WALL, swinging on its cable like a
    demolition ball on a crane!

    371 BACK TO SCENE 371

    McClane runs up the steps as brickwork flies past his head like
    schrapnel:

    372 THE ELEVATOR 372

    reaches the apex of its swing, drops down in an arcing turn:

    373 WIDE SHOT 373

    the elevator CRASHES into the stairs! The section McClane in
    on SNAPS LOOSE! At the last minute McClane LEAPS towards:

    374 THE VAULT FLOOR BALCONY 374

    and catches it as stairs and elevator CRUMBLE behind and beneath
    him! With his last effort, he hauls himself onto the balcony
    and them moves off!

    CUT TO:

    375 EXT. BUILDING 375

    The police are scrambling for cover. Powell and Robinson are
    open-mouthed.

    376 IN THE BASEMENT 376

    Argyle is huddled down on the floor of the back seat, the stuffed
    animal held over his head as much for company as protection.
    As the building ceases to ROCK Argyle sneaks a peek out from
    under the fur...and sees:

    377 HIS P.O.V. - THEO 377

    at the delivery truck. He steps into a white paramedic's
    jumpsuit and zips it up. He hops into the cab and pulls the
    truck away from the loading dock.

    378 MCCLANE - ON THE VAULT FLOOR 378

    He creeps forward, looks carefully into:

    379 HIS P.O.V. - VAULT ROOM 379

    They're getting ready to leave with the bearer bonds. Suddenly
    the CAMERA FOCUS CHANGES TO HOLLY.

    380 BACK TO SCENE 380

    McClane's face shows his anguish. He checks the weapon he took
    from Uli. One bullet!

    MCCLANE
    (under his breath)
    Shit...

    He checks his Baretta. One bullet. He thinks, desperate.
    Decides. He takes the bullet from the rifle clip, adds it to
    the Baretta clip. He slams the pistol clip back, really worried.
    Mind racing, he looks all around the room...his eyes fall on a
    tape dispenser. He thinks again...steps towards it:

    380-A IN THE BASEMENT 380-A

    Theo has pulled two ramps out from the truck and slips into
    the back. A car engine fires up inside the delivery truck.

    381 ARGYLE 381

    Realization dawning, he vaults into the front seat.

    382 THE GARAGE 382

    A paramedic van shoots out of the back of the Pacific Courier
    delivery truck. Flooring the limo, Argyle CRASHES into
    the van, which CAREENS into the wall.

    383 CLOSER 383

    Theo staggers out in time for Argyle to deck him with one punch.

    ARGYLE
    (looking around)
    Where's the camera when you need them?

    CUT TO:

    384 THE VAULT ROOM 384

    HANS
    Let's move.

    The last of the money is piled on. Hans hangs onto Holly while
    Eddie pushes the mail carts of moneybags. Kristoff goes to the
    door to scope their escape...suddenly he is COLD COCKED by a
    rifle butt.

    385 WIDER 385

    McClane steps into view in the doorway, backlit by sparks still
    tumbling down from the roof above. He holds the machine gun
    ready.

    MCCLANE
    Hans!

    Hans turns, not that surprised. Grinning, he yanks Holly into
    view. No words need be said.

    HOLLY
    John!

    MCCLANE
    Holly, we have to stop meeting like
    this.
    (taking in the vault)
    So that's what it was. A fucking
    robbery.
    (thinking)
    So why nuke the building, Hans?

    HANS
    (with a shrug)
    When you steal six hundred dollars,
    you can disappear...but when you
    steal six hundred million, they will
    find you...unless you play dead.
    (tight smile)
    Which happens to be your next role...
    drop your gun, please.

    McClane hesitates...Hans pushes the gun against Holly again,
    really hurting her. Eddie quickly raises his weapon.

    HANS
    (to Eddie)
    Nein, dies ein ist mein.
    (to McClane)
    This time John Wayne does not walk
    off into the sunset with Grace Kelly.

    MCCLANE
    That was Gary Cooper, shithead...

    HANS
    No more jokes, drop it or she gets it
    between the eyes!

    MCCLANE
    (slowly putting down
    his gun)
    Whoa, Hans, now you're the cowboy?

    HANS
    'Yippe-ki-yea, mother fucker'? Now
    you are fucked.

    He aims:

    MCCLANE
    Holly, now...!

    Instantly, Holly sidesteps, JABS her elbow into Hans' face!

    386 MCCLANE - OVER SHOULDER SHOT 386

    At the same moment Holly moves, McClane grabs his Baretta
    from its hiding place TAPED TO THE BACK OF HIS NECK, SHOOTS
    Hans high in the chest!

    The bullet passes right THROUGH Hans, and the WINDOW behind
    him SPLATTERS with blood and SHATTERS. Even while this is
    happening, McClane SPINS:

    387 EDDIE - THROUGH MCCLANE'S WIDESPREAD LEGS 387

    Eddie takes a gunshot, DROPS just like on Gunsmoke.

    388 BACK TO SCENE 388

    Hans drops his weapon, staggers, looks down at his own blood
    in shock.

    389 MCCLANE 389

    MCCLANE
    You were right about us Americans.
    (he blows smoke
    from his pistol
    barrel)
    We are cowboys.

    390 VAULT ROOM - WIDER 390

    Incredibly, Hans still stands, eyes filled with shock and
    disbelief. He REELS, falls against the windowsill, starts to
    TOPPLE -- and then he GRITS his teeth and from some inward
    place finds a last reserve of strength and he GRABS:

    391 HOLLY'S WRIST 391

    and she is YANKED off her feet!

    392 BACK TO SCENE 392

    Hans goes out the window, pulling Holly with him! McClane
    LEAPS forward, catches her inside arm near the elbow at the
    last minute!

    393 EXT. BUILDING - LONG SHOT 393

    The roof still in flames, McClane hangs halfway out of the
    window, jagged glass raking his face, straining to hold onto
    Holly as Hans drags her out!

    McClane braces himself against the window frame and strains to
    pull Holly closer. With a MOAN, she catches the windowsill with
    her inside hand. McClane STRETCHES with his other hand, begins
    to INCH towards Holly's wristband.

    394 HANS' HAND - WIDEN 394

    A death grip on the watchband. We WIDEN, SEE that, blood
    flecked teeth GRITTING, he is STRAINING with his other hand
    to bring up the gun he is still holding!

    395 MCCLANE 395

    Holly's SCREAM alerts him. Hans locks eyes with McClane one
    last time, starts to pull the trigger, as:

    396 VERY CLOSE 396

    McClane RELEASES the latch on the watchband! The overtaxed
    metal SNAPS, links flying:

    397 WIDER 397

    Hans' face registers his horror as he and most of the watch
    suddenly drop.

    We LISTEN to his scream all the way down, finally HEAR him HIT.

    McClane pulls Holly back into the room and holds her.

    MCCLANE
    It's okay, babe. It's okay.

    He looks down at Hans' body, then back at the scrap of wristband
    he's still holding.

    MCCLANE
    You got a warranty on this?

    She laughs through her tears, holds onto him.

    DISSOLVE TO:

    398 EXT. BUILDING - DAWN 398

    Smoke drifts up from what has suddenly become the top floor.
    Thornburg's remote truck careens into the parking lot.

    399 CLOSER 399

    A crowd watches as the front doors of the building open. We
    SEE McClane, who holds up Holly and in turn is supported by
    SWAT men. As REPORTERS start shouting questions, McClane
    breaks free of his entourage, and, holding Holly, pushes into
    the crowd.

    MCCLANE
    (calling out)
    Al? Al, you here -- ?

    The crowd eddys and surges...suddenly Powell is there, and
    McClane knows it's him. They stare at each other, ten feet
    apart, and then they're grinning, extending their hands. But
    somehow a shake isn't enough, and they're embracing each other
    like men who've lived through combat together...which, in fact,
    is the truth.

    MCCLANE
    (emotional)
    Al. Man, you were my rock. I
    couldn't have made it without you.

    POWELL
    Bullshit.

    MCCLANE
    I'm serious. Hey, this is my wife...
    Holly Gennero.

    HOLLY
    (taking Powell's hand,
    correcting)
    Holly McClane.

    Hearing this, McClane grins, pulls her close. *

    POWELL
    (to her)
    A pleasure. I guess John doesn't
    need me to give you that message
    anymore.

    HOLLY
    (puzzled)
    Message?

    McClane begins to make silent "ixney" gestures in Powell's
    direction.

    POWELL
    You know, about him being such a
    jerk -- and how he's really sor --
    (seeing McClane)
    -- ee...Uh, I'm sure he'll fill
    you in.

    Just then Robinson barges forward.

    ROBINSON
    I want you for debrief, McClane.
    You've got some things to answer
    for -- Ellis' murder -- property
    damage -- interfering with police *
    business --

    A SCREAM causes McClane to turn.

    400 HIS P.O.V. 400

    There in the doorway is Karl, clothing and body scorched.
    Easily as crusted in dirt and blood as McClane, he holds his
    machine gun.

    401 EXT. BUILDING 401

    As the crowd panics trying to escape, Karl locks eyes with
    McClane and levels his gun. McClane throws Holly to the
    ground and grabs the dumbstruck Robinson's sidearm.

    But he doesn't get off a shot -- a lone gunshot stops Karl --
    knocking him back through the doorway. McClane looks back to
    see Powell still sighting down the barrel of his .38.

    His hand is rock steady. He sees McClane's look.

    POWELL
    (shrugging)
    You were right. You couldn't have
    made it without me.

    They smile. Suddenly McClane and Holly squint as LIGHTS pan
    onto them. Thornburg pushes his way forward, mike extended
    like a weapon.

    THORNBURG
    Mr. McClane...Mrs. McClane...any
    comment on your incredible ordeal?
    What are your feelings now that it's
    all over?

    Without a beat, Holly PUNCHES HIM in the chops. He FALLS,
    dropping the mike with an electronic SQUEAL. McClane looks at
    his wife, amazed. Behind them, Thornburg sits on the ground, *
    nurses his lip, turns to his camerman.

    THORNBURG
    (eager) *
    Did you get that?

    McClane and Holly continue on, turn towards: *

    402 ARGYLE'S LIMO 402

    It's a little smashed up, but still running. Argyle is
    standing beside the open door. McClane and Holly get in and
    Argyle closes the door.

    ARGYLE
    (getting in the
    front)
    If this is their idea of Christmas
    I gotta be there for New Year's.

    CAMERA ADJUSTS TO SHOW the read window where McClane and
    Holly are kissing. As they drive off, we:

    FADE OUT

    THE END

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