>> I/ Die Hard I

I/ Die Hard I ( 2)

: I/ Die Hard I.

I/ Die Hard I

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 rear window where McClane and Holly are kissing. As they drive off, we:

FADE OUT

<<<

I/ Die Hard I.
Copyright 2005-2018. ! ! homeenglish@mail.ru