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ALL SCRIPTS



 
                                     DIE HARD 2



                                     Written by

                                  Doug Richardson



                                    Revisions by

                                 Steven E. de Souza




                                                        SHOOTING SCRIPT
                                                      November 16, 1989

                         

                         

                         (X)

                         DIE HARD 2
          WHILE WE'RE IN BLACK we HEAR a PNEUMATIC "KA-CHUNK" and then

                         MCCLANE'S VOICE
          Holy shit, whoa, whoa -

                         FADE IN:

          1 EXT. DULLES TERMINAL - DAY 1

          JOHN MCCLANE, long topcoat FLAPPING, comes running out of the
          terminal towards an AIRPORT COP in plastic covered uniform who is
          supervising a TOW TRUCK DRIVER who in turn is manhandling a
          sedate sedan with Virginia plates and a "GRANDMOTHER ON BOARD"
          sign on the rear window.

                         MCCLANE
          I'm here, I'm here, false alarm, let's
          just let her down nice and easy -

                         COP
          Sure. At the impound lot.

                         (POINTING)
          Next time, read the sign.

                         MCCLANE
          You don't understand, I'm just meeting
          my wife's-plane - you gotta give me
          this car back.

                         COP
          Sure. Tomorrow 8 to four, you pay
          40 bucks, we give it back.

                         MCCLANE
          This is my mother in law's car. She
          already hates me because I'm not a

                         DENTIST -

                         (SHOWING-BADGE)
          See, I'm a cop. LAPD. How about
          some team spirit?

                         COP
          I was in LA once. Hated it.

                         CONTINUED

                         

                         

                         

                         

                         2

                         (X)

                         1 CONTINUED -

                         MCCLANE
          (going with the flow)
          I can relate to that. Hate it myself-
          (turning to tow guy)
          Hey, that's a plastic fender, Jesus-
          (back to cop)
          See, I used to be a New York cop still
          got my ID somewhere -I only moved
          'cause my wife got promoted - look,
          maybe we can settle this right here,
          we're in Washington, heartbeat of
          Democracy, one hand washes the other
          He realizes the truck is DRIVING AWAY one way while the cop is
          i going off the other way - McClane votes for the cop -

                          MCCLANE
           Hey, c'mon, it's Christmas -

                          COP
          So Ask Santa to bring you another
          car.

                         I

                         MCCLANE

                         (SOTTO)
          You son of a -
          BEEP drowns out his last word. McClave sweeps aside his coat,
          finds the beeper on his belt. He looks at the obviously
          unfamilar number on the read out in puzzlement, then runs into
          the terminal.

          2 INT. DULLES TERMINAL - DAY 2

          CHRISTMAS MUSIC wafting through the building from a SCHOOL CHOIR
          perched in front of a massive, three-story window. Blase
          travelers PAUSE in their hectic rush to applaud the angelic
          voices.
          McClane shoves his way through some people - when they GLARE at
          him he quickly APPLAUDS the kids, pulls up at an INFORMATION
          BOOTH - the girl there is watching a LITTLE TV on the shelf out
          of sight from the public.

          MCCLANE 1ST NEWSCASTER
          Telephones? (on TV)
           .and that White Christmas
          INFORMATION GIRL may be here for a while, if
          (pointing) that new storm front moves
          Right over there. to the Metro area this
           afternoon as predicted.
          McClane nods, serves across the slick linoleum.

                          CONTINUED

                         

                         

                         

                         

                         3

                         (X)

                         2 CONTINUED - 2
          1ST NEWSCASTER(cont'd)
          Correspondent Leonard Adkins is in
          a warmer clime, with a story that
          grows hotter by the minute.

          2A WITH MCCLANE 2A
          he fairly SKIDS to a halt at a line of PHONE BOOTHS - and outside
          each booth a long LINE of people with their armfuls of luggage

                         A
          and gifts.
          McClane's BEEPER goes off again.

                         MCCLANE

                         (DESPONDENT)
          Ho - ho - ho...

                         3 3
          thru OMITTED thru

                         4 4

                         CUT TO:

          EXT. AIRPORT - THROUGH WINDOW - SAME TIME


                         I
          A plane TAKES OFF. We PULL BACK and realize we're in a MOTEL
          ROOM. The TV is on and we SEE the TV PICTURE CHANGE to a
          TROPICAL AIRFIELD. Khaki-clad heavily armed SOLDIERS form a
          cordon as a stiff-backed handsome MAN of 60 in handcuffs and leg
          chains is hustled aboard a plane.

                         2ND NEWSCASTER
          Security was tight today at Escalon
          airport in the Republic of Val Verde,
          where government authorities escorted
          General Ramon Esperanza to the
          military transport that will bring
          him to the United States to stand
          trial for narcotics trafficking.
          A HAND thrusts in front of the CAMERA - FINGERS clenching and
          curling oddly.

                         6 WIDER 6
          A half naked MAN is doing Tai Ch'i EXERCISES. This is COLONEL
          WILLIAM STUART, U.S.A. (Ret.) His body is hard, with SCARS from
          knives and bullets.
          On the TV, the words "FILE TAPE" blink under Esperanza's IMAGE,.
          here resplendent in a Latin American uniform, reviewing troops in
          the field and then moving to a table under a tarp to sign
          documents with American military officers. He hands a COLONEL the
          pen just used on the document - a souvenir.

                         CONTINUED

                         

                         

                         

                         

                         4

                         (X)

                         6 CONTINUED - 6

                         NEWSCASTER
          Only two years ago the controversial
          General lead his country's Army in
          its campaign against Communists
          insurgents - a campaign fought with
          American money and advisors.
          Esperanza's fall from power caused

                         1
          ripples not only in his country'.s
          recent election, but closer to home
          I as well...
          PICTURE CHANGES to some WASHINGTON STEPS. The AMERICAN COLONEL
          we just.saw exits a Federal building with some JUNIOR OFFICERS
          and attorneys - avoids reporters.

                         1

                         NEWSCASTER(CONT'D)
          .when high ranking Pentagon
          officials were chargedwith supplying
          I him with weapons despite the
          congressional ban.
          The exercises finished, Stuart FREEZES in an eerie pose, until

          7 HIS HUER CHRONOMETER
          BEEPS an alarm -

          8 BACK TO SCENE 8
          The man uncoils. Composes himself. Goes to the closet.

                         NEWSCASTER(CONT'D)
          But mounting evidence that Esperanza's
          forces violated the neutrality of
          neighboring countries made Congress
          withhold funds-funds which Esperanza
          I s accused of replacing by going into
          the'lucrative business of cocaine
          smuggling.
          ,.One topcoat, one suit there, shirt and tie laid out like a
          costume not usually worn. On the shelf above, one PACKAGE in

          DISTINCTIVE CHRISTTMAS WRAP.
          Stewart puts on the shirt. In the pocket is a PEN - the same pen
          we just saw on TV. If we haven't realized it yet, we realize it
          now; t s is the same man.91
          Suddenly Stuart WHIRLS like a GUNFIGHTER. But all he's got in
          his hand is the remote control, snatched from the nightstand.

                         9 TV 9

                         CONTINUED

                         

                         

                         

                         

                         5

                         (X)

                         9 CONTINUED - 9

                         Q
          It clicks OFF -

                         CUT TO:

          10 INT. AIRPORT MOTEL - CORRIDOR - DAY 10

          CLOSE on the hallway door as Stuart COMES OUT, the package in
          i his hand, the Huer ticking away. We WIDEN, TRUCK with him as
          he moves down the corridor.
          And now we SEE THEM - ten more TALL, HARD men, all coming into
          the hallway from their adjoining rooms within seconds of each
          other, all carrying SIMILAR GIFT WRAPPED PACKAGES.
          They get into two adjoining. elevators, the stark LIGHTS above
          their heads and their unmoving expressions making them look like
          Aliens ready to beam up. As the doors CLOSE we

                         CUT TO:

          11 INT. TERMINAL - DAY 11

           McClane SQUEEZES past an enormous WOMAN exiting a phone booth
           with a PRESENT as big as she is. Catching his breath, he drops
           his quarter, dials.

                         12 12
          aru OMITTED thru

                         13 13

                         CUT TO:

          14 INT. A JETLINER - INTERCUT 14

          HOLLY MCCLANE is here, AirPhone at her ear and a beautiful
          SUNSET over the plane's wing visible through the nearby window.
          With the Compaq portable computer, filofax and calculator piled
          on it, Holly'.s seat back table looks like a traveling office.

                         MCCLANE
          Hello. This is Lieutenant McClane
          - Somebody there beep me?

                         HOLLY
          I'd like to think I'm somebody.

                         MCCLANE
          Holly! Did you land?

                         HOLLY
          John, wake up. It's the nineties.
          Microchips, microwaves, faxes and
          airphones.

                         MCCLANE
          As far as I'm concerned, progress
          peaked with the frozen pizza.

                         CONTINUED

                         

                         

                         

                         

                         6

                         (X)

                         14 CONTINUED - 14

                         HOLLY
          We're going to land about thirty
          minutes late, I wanted you to know.
          Kids okay?

                         MCCLANE
          Just speeding on sugar, thanks to
          your parents. I really appreciate
          you coming a day late, honey. Nothing
          I like better than a weekend with
          the Munsters.

                         I

                         HOLLY
          Mom give you any trouble about
          borrowing her new car?

                         J

                         MCCLANE

                         (CAREFULLY)
          No... not yet. Uh...how 'bout if
          when you land, we don't drive over
          the river and through the woods to
          Grandma's house, but check into the
          Airport motel?

                         HOLLY
          You're on, Lieutenant.
          They both hang up. The OLDER WOMAN beside Holly smiles at her.

                         OLDER WOMAN
          Isn't technology wonderful?

                         HOLLY
          My husband doesn't think so.

                         OLDER WOMAN
          Well, I do. I used to carry around
          those awful mace things -
          She opens her purse and displays a Taser stun gun.
          OLDER WOMAN(cont'd)

                         (SHOWING IT)
          Now I zap any bastard who screws with
          me. I tried it on my little dog,
          poor thing, limped for a week.
          As Holly tries to smile politely, we

                         CUT TO:

                         15 MCCLANE 15
          Coming out of the phone booth and almost COLLIDING with -

                         

                         

                         

                         

                         7

                         (X)

                         16 NEW ANGLE 16
           Colonel Stuart.

                          STUART
          Excuse me -
          Pause as they dance away from each other. Then -

                         I MCCLANE
          --do I know you?

                         STUART

                         R (TIGHTLY)
          I... get that a lot. I've... been
          on TV.

                         J

                         MCCLANE
          You and me both, pal. The hell with
          it.
          Now it's Stuart's turn to look at McClane oddly; then he moves
          off. McClane looks after him, trying to place him... shrugs...
          heads for the bar.

                         CUT TO:

          17 A LITTLE SEMI-RURAL CHURCH - NEAR THE AIRPORT 17
          Charming until the SUB WOOFER ROAR of a big jet SCREAMS by,
          practically in the little church's backyard.
          Now we notice that the church is a little run down - trim needing
          paint, sidewalk cracked - and a neat SIGN confirms our

                         SUSPICIONS:

          "FUTURE SITE OF PARISH DAY CARE CENTER.

          WORSHIP WITH US AT OUR NEW CHURCH,

          52 KENSINGTON ROAD, ALEXANDRIA, VIRGINIA."
          A DWP VAN pulls up, snow tires CRUNCHING on the driveway here.
          Two MEN (BAKER and THOMPSON) get out in official DWP wardrobe.
          But we remember the trim bodies, trimmer hair... and we remember
          those gift wrapped packages, - which one of these guys carries.

          18 INSIDE THE CHURCH 18
          On a TV here, the newscast CONTINUES, now back to the tropical
          airport. Esperanza is at the top of the steps, waving to the
          press like a triumphant hero - not a felon en route to prison.
          The plane doors close and it taxis down the runway.
          WIDEN from the set, which an elderly CUSTODIAN is watching while
          he eats some instant soup. The DOORBELL RINGS. The custodian
          answers it.

                         CONTINUED

                         

                         

                         

                         

                         8

                         (X)

                         18 CONTINUED - 18

                          CUSTODIAN NEWSCASTER'
          Yes? (on TV)
           Although Esperanza was
           BAKER removed as Commander in
           Sorry to bother you, sir. Chief earlier this year,
           We're checking our equipment. the agreement to extradite
           Any problems with the conduit him was not reached until
           box in your backyard? yesterday - and Washington
           insiders say it was a phone
           CUSTODIAN call that made it happen -
           Gee, I don't know anything a phone call from an
           about that. angry American President.
          Baker and Thompson glance at each other.

                         THOMPSON
          Would you mind if we take a look?

                         CUSTODIAN
          Help yourself.

          18A WIDER 18A
          The three men walk down the main aisle of the church. Dust motes
          dance in the colored light.

                         CUSTODIAN
          Don't seem right, somehow, closing
          a church down. Oh, I know the parish
          is gonna keep using it, but it won't
          be the same. Been here a lot of
          years; and I been right here with
          it.
          They've arrived at a rear window. FOCUS CHANGE to a green
          CONDUIT BOX on the the church's rear lawn, half covered in snow.
          FOCUS back through the glass. Thompson looks questioningly at
          Baker, who nods.

                         CUSTODIAN
          Yep. I kinda feel a part of me is
          dying along with this church.

                         BAKER
          Well, you're right about that.
          BLAM BLAM GLAM. BULLETS RIP through the end of the Christmas
          package, SLAM the custodian up and into a row of pews, which

          OVERTURN.

                         

                         

                         

                         

                         9

                         (X)

                         19 NEW ANGLE 19
          { Baker rips the rest of the smoking package away from his weapon,
          s 1i s it over his shoulder and begins to SHOVE the pews aside to
          make a larger open area.
          Thompson, meanwhile, takes out a very futuristic transceiver.
          He turns it ON; getting a RED light; enters a NUMBER CODE on the
          keypad and gets a GREEN LIGHT. There's an EERIE QUALITY to the
          transmission.

                         THOMPSON
          This is team one. We're here.

                         1

                         NEWSCASTER(CONT'D)
          This is Leonard Adkins, in Val Verde
          - where the war on drugs has finally
          taken its first prisoner.
          With an annoyed expression, Thompson CLICKS OFF the newscast.

                         CUT TO:

          EXT. AIRPORT - SERVICE AREA - DAY 20

          Two PAINTERS pull up in a van. Move around the back and start to
          pull out ladders and cans.

                         FIRST PAINTER
          Busting our asses Christmas week like
          they're gonna land extra planes if
          we finish -
          Suddenly two MEN O'REILLY and SH DON) are there.

                         PAINTER
          Need something?

                         O'REILLY
          Yeah.
          BAM! BAM! Both painters are SHOT.
          Quickly, the two men toss their bodies into the rear, get into
          the van... and BACK IT INTO the airport garage.
          O'Reilly enters a NUMBER CODE into a transceiver-

                         ORILLY
          into radio, as iffey

                         DRIVE)
          Team Two. In position.

                         CUT TO:

                         

                         

                         

                         

                         10

                         (X)

          EXT. SECLUDED VIRGINIA ROAD - DAY 21

          a CYCLONE FENCE and a MICROWAVE DOME fenced in with a sign:

          "PROPERTY OF THE FEDERAL AVIATION AGENCY. NO TRESPASSING."
          _BURKE and KAHN - two more of those CLEAN CUT MEN are here, just
          now parking and going to the rear of their rented station wagon.
          Quickly, they OPEN the trunk - slide, out a long OLIVE DRAB TUBE
          and a TRIPOD.

          21A CLOSER 21A
          Kahn KICKS spikes on the tripod into the frozen around to anchor
          it - TILT UP as a SNAPS the tube ON TOP of it, SWINGS IT
          AROUND towards the installation -- when

                         POLICEMAN'S VOICE
          Hey, you!

          22 A POLICE CAR 22
           Has pulled over across the road. Both OFFICERS get out.

                          POLICEMAN(CONT'D)
          } (cocking a SHOTGUN)
           This is .a restricted area! Mind
           telling us what you're doing?

          23 ON THE MEN 23
           A quick look between them... and then .SWIVELS the-long
          FIRING, the two men tube around! With Kahn LOADING and VjMELN
          LAUNCH a MISSILE at the police car!

          23A THE POLICE CAR 23A
          EXPLODES, the two cops halfway out swallowed up in the

          DESTRUCTION.

          23B BACK TO SCENE 23B
          As the cop car BURNS, the two men turn, pivot the weapon back
          towards the transmitter. FIRE. The missile trail arcs neatly
          over the fence, lands on target -

                         24 THE TRANSMITTER 24

                         EXPLODES -

                         CUT TO:

          25 INT. DULLES TOWER - "THE CAB" - DAY 25

          The top of the Tower, it's the heart, soul, brain of Dulles.
          We HEAR snatches of AIR TRAFFIC CONTROL as the CAMERA PANS the
          big room. We SEE PLANES outside, the airport LIGHTS already
          on against the grey of the snow. It's damn impressive.

                         CONTINUED

                         

                         

                         

                         

                         11

                         (X)

                         25 CONTINUED - 25
          0' CAMERA SETTLES on TRUDEAU. Chief Air Traffic controller, he's
          lived through hijackings, the Olympics, Reagan's mass firings
          -and he's still going (heart bypass notwithstanding.) Chief
          engineer BARNES is as good as a right ventricle, anyway.
          An ALARM RINGS.

                         26 TRUDEAU 26
          lighting a cigarette, he hovers over BARNES.

                         BARNES
          We just lost FAA approach control.

                         TRUDEAU
          Weather may have screwed up the line.
          Switch over to our own back up and
          run a check.
          Barnes hits a switch. The ALARM STOPS. Everyone relaxes.

                         CUT TO:

          27 INT. AIRPORT BAR - NIGHT 27

          WIDEN from McClane at the bar, his coat on a stool beside him.
          He's on his second scotch. On the BAR TV, we SEE SAMANTHA
          ("SAM") COPELAND, a reporter with "live" super'd over her body.
          She is clearly somewhere inside this airport

                         SAM

                         (ON TV)
          --here at Dulles, the quiet men from
          the Justice Department wait to put
          handcuffs on the man who has come
          to symbolize the enemy in America's
          fight against cocaine... This battle
          may be almost won... but the war
          is still in doubt. Samantha
          Copeland... . WNTW for NightTime News.
          CAMERA ADJUSTS to.show a MAN as he OPENS a PHONE BOOTH. It's
          very quick, but we REALIZE that while in there he. wasn't using
          the phone but one of the transceivers we saw before.
          This is MAJOR GARBER, Stuart's second-in-command; but his
          efficiency and chilly courage are second to none. CAMERA FOLLOWS
          HIM to a TABLE.
          C OC HRANE and MILLER - TWO MORE of those neat, trim young men-are
           there, in neat_,--Eo'ring topcoats.

                         CONTINUED

                         

                         

                         

                         

                         27 CONTINUED - 27

                         GARBER
          That was the Colonel: All perimeter
          teams are in place.

                         (TO COCHRANE)
          Weather?
          'Cochrane covers one ear and we SEE that he has a RADIO EARPLUG.
          other. He listens intently, then GRINS.

                         ' OCH
          Flurries all along h e Virginia
          Coast... new storm moving in from
          the Northeast.

                         GARBER
          (sharing the smile)
          God loves the Infantry.

                         (SMILE GONE)
          Carry out your assignment. We'll
          regroup at field HQ.
          (setting his watch)
          Three fifty one... Mark.
          They syncronize their watches, and then Mi l1e leaves the bar.
          CAMERA PANS HIM out. He walks right past McClane, who doesn't
          notice him.
          A beat after Mil ergs exit, two AIRPORT COPS in snow-flecked
          JACKETS come into the bar. Seeing, them, the bartender is
          already pouring coffee for them. But-

          28 GARBER AND COCHRANE 28
          also see the cops - and very casually, Cochrane ulls the earplug
          from his ear. Equally casually, Garber Vs-Wed-If-is- foot to slide
          the two long Christmas package at his feet under the table.

          29 ON MCCLANE - CAMERA PUSH 29
           This gets his attention. His eyes narrow. He looks from the two
           or d inary looking men towards the Airport cops, wonders why they
           got fidgety. Now he watches

          30 GARBER & Q HRANE 30
          who looks at his watch, signals Cochrane. Both rise. But as
          Cochrane bends to pick up his wrapped package... and as he moves,
          something dangles inside his jacket. Is it a holster?

                         31 MCCLANE 31
          turns to watch them exit, sees them SPLIT up outside the bar.
          Quickly, McClane goes over to the Airport cops.

                         CONTINUED

                         

                         

                         

                         

                         13

                         (X)

                         31 CONTINUED - 31

                         MCCLANE
          Excuse me, officers. This may be
          a total wild goose chase, but I think
          I just saw -
          He STOPS. CAMERA ADJUSTS. The cop he's talking to is the
          asshole who towed away the car.

                         1

                         AIRPORT COP
          Saw what?

                         MCCLANE
          Elvis.
          McClane turns, throws money near his glass and quickly exits the
          bar.

                         CUT TO:

          32 INT. TERMINAL - WITH THE MEDIA 32

           trying to get the half dozen UNIFORMED US MARSHALS or the three
           JUSTICE DEPARTMENT LAWYERS to talk to them - without success.
           But one reporter - Sam - NOTICES -

          33 STUART - MOVING THROUGH AIRPORT -HER POV' 33
          I as she watches, Garber joins him -

          34 BACK TO SCENE 34

                         SAM
          (nudging her cameraman)
          Hey. Colonel Stuart.

                         CAMERAMAN
          Old news.

                         SAM
          Better than these loxes.
          Very quietly, Sam and the cameraman do their best to slip away
          from the pack.

          35 STUART AND GARBER - WALKING ALONG TOWARDS EXIT 35

                         STUART

                         (SOTTO)
          Everything on schedule?

                         GARBER
          Tapping airport phones right now.
          Got a slight problem with personnel:
          Last minute replacement. What's the
          status of the security here?

                         I

                         CONTINUED

                         

                         

                         

                         

                         14

                         (X)

                         35 CONTINUED - 35

                         STUART
          (nodding towards the

                         JUSTICE PEOPLE)
          Like we figured. A joke -
          But suddenly both men are in the GLARE of a portable light.

                         SAM
          Colonel Stuart! Can we have a few
          words with you?

                         I

                         STUART
          You can have two: "Fuck" and "you".
          And the interview is over and he's out the door.

                         CUT TO:

          36 INT. TERMINAL - ESCALATORS - NIGHT 36

          McClane's head panning the holiday crowd - then SEEING Cochrane.
          Quickly, he FOLLOWS Cochrane downwards - into

                         37 LUGGAGE AREA 37
          where a TOURIST JUNKET gets between McClane and his quarry-

          38 C9CC $ANE 38
          a GLIMPSE of him at a door marked "NO ADMITTANCE" - then he's
          gone. McClane runs up, too late; the door is shut again.
          He looks around, sees a LUGGAGE WORKER, flashes his badge.

                         MCCLANE
          Open this.
          (as the guy obeys)
          Got a cop on duty around here?

                         LUGGAGE GUY
          Airport police -

                         MCCLANE

                         (SCOWLS; THEN;)
          Get 'em.

          39 INT. LUGGAGE CONVEYOR AREA - DAY 39

          Dark. Clatters and bumps, machine sounds... more bumps. McClane
          moves cautiously along. He JUMPS as a large SHADOW moves
          nearby, but it's a big CASE on a conveyor belt.
          Now, he stoops to go under another conveyor belt - the different
          tracks intersect and pass each other like freeway off-ramps
          discharging luggage from one to another - and then he SEES -

          4.

                         

                         

                         

                         

                         15

                         (X)

          39A COCHRANE AND MILLER 39A

                         I
          One has his jacket off, and just now dusts off his hands like
          a man finishing a job.
          The other one has one of those transceivers.

                         MCCLANE'S VOICE
          Excuse me.

                         41 NEW ANGLE 41
          They turn, see McClane with his badge in his left hand - his
          right hidden under the long coat which is draped over his
          shoulder like Clint Eastwood's serape in a Spaghetti Western.

                         MCCLANE(CONT'D)
          This is a restricted area. You boys
          too impatient to wait for the skycaps?

                         MILLER
          We... work for th amine.

          MCCLAN.E
          Yeah? Let's see some ID -
          Instantly both men DIVE to the outside, drawing guns.

                         42 THE TRANSCEIVER 42
          Falls, skids... somewhere.

          43 BACK TO SCENE 43
          Dropping his'wallet, McClane JUMPS aside as SHOTS WHIZZ PAST
          -McClane's COAT takes the BULLET HITS in MID AIR as he LANDS
          on a conveyor belt, which CARRIES him UP and OVER the gunmen.
          They FIRE UP at him - He aims.back - and then a SUITCASE falling
          from another belt and knocks his gun away!

                         44 BELOW 44
          The gun CLATTERS on the floor. Seeing it, the two men exchange a
          glance - split up.

                         45 MCCLANE 45
          Drops from the belt, crouches near big gears. Desperate, he
          looks around for a weapon, anything. Then he notices all the
          luggage going past: Suitcases, camera cases, a bicycle... Skis.

                         46 MILLER 46
          Moving forward expertly, gun ready. WHAP! A SKI POLE smacks
          down on his wrist! The gun DROPS onto a conveyor belt, FIRES -
          then moves away, obscured by moving luggage.

                         CONTINUED

                         

                         

                         

                         

                         16

                         (X)

                         46 CONTINUED - 46
          J McClane steps in, punches Miller - gets HIT hard himself -both
          ROLL OVER onto the new belt.

                         47 COCHRANE 47
          Hearing the SHOT, he tries to pinpoint the location - but with
          all the echoes - it's hard.

                         S

          48 MCCLANE AND MIL 48
          Fighting hand to hand. Miller starts pressing the ski pole
          against McClane's throat:-Pt=lane tries to do the same thine
          back - they spin, SMASH into a pile of suitcases, some of which

          SPILL OPEN.
          M J er gets in a powerful punch, gets free - CAMERA FOLLOWS
          Miller as his hand gropes for the pistol.- and then McClane
          rIT into view with fucking HAIRSPRAY right in the guy's eyes!
          Miller HOWLS, blinded - but then - BLAM! A BULLET EXPLODES
          tcan in McClane's hand!

                         49 NEW ANGLE 49
          Cochrane is there! McClane LEAPS like Tarzan to the BOTTOM of
          the i , empty "return" belt - the momentum swings him right
          towards Cochrane, who FIRES once more before McClane's KICK
          nearly toc e stf'his head - he loses the gun, but Jesus, these
          guys are tough and now Cochrane LEAPS UP and grabs McClane's
          belt and clothes and they're both hanging -suddenly they're both
          too damn high to get off!

                         50 MCCLANE 50
          Half on the belt, half off, he fends off the other man and SEES-

                         51 UP AHEAD 51
          The belt goes through a hatchway - a hatchway with virtually no
          clearance.

          52 BACK TO SCENE 52
          McClane PUNCHES Cochrane - again, again - but the guy's gonna
          kill them both one way or the other - McClane KICKS him, again,
          again - finally his grip loosens - at the last minute McClane
          JUMPS to a thick conduit - and then Cochrane gets JAMMED

          53 INTO THE HATCH HEADFIRST. 53

          54 NEW ANGLE - 20 FEET UP 54
          The conduit BREAKS FREE from its molly bolts, but doesn't drop
          -and three feet away the guy SCREAMS and then his neck SNAPS and
          his body TWITCHES AND JERKS and the machinery JAMS, smoking-

                         

                         

                         

                         

                         17

                         55 MCCLANE 55
          WINCES as blood SPLATTERS - and then REACTS as the 20 foot tall
          conduit pipe CREAKS, BENDS-TOPPLES- he RIDES IT DOWN-

                         CUT TO:

          56 INT. LUGGAGE CONVEYOR AREA - NEAR ENTRANCE 56

          led bjthe luggage guy, two AIRPORT COPS run in -

                         57 LLERϿ 57
          panting for breath, rubbing his eyes, he sees their approach,
          starts to run. He races down a long aisle past cartons of
          freight... starts to smile - there's a door just ahead - he's
          gonna make it -he's gonna make it - suddenly a CHING CHING SOUND
          makes him turn -it's the CHING CHING OF -

                         58 A BICYCLE 58
           - with John McClane on the back. McClane dives out of the saddle
           like the Lone Ranger, takes Miller down. (X)

          59 ON THE FLOOR 59
          As the bicycle FLIPS OVER, McClane gets to his feet first and
          finds a gun in his face -

           2ND AIRPORT POLICEMAN (X)

           FREEZE!
          And in that instant (you guessed it): (Miller_F)SCAPES. (X)

                          MCCLANE

                          (SIGHING)
           Brilliant, asshole. I'm a cop -that
           was the bad guy! '(X)

           2ND AIRPORT POLICEMAN (X)

                         (UNIMPRESSED)
          Yeah? Where's your I.D.?
          McClane.starts to reach into his jacket - remembers. He looks
          around the huge room and its clanking conveyor belts.

                         MCCLANE
           Cleveland?

                          CUT TO:

          60 INT. HOLLY'S PLANE - IN FLIGHT 60

           Holly's working away on her laptop computer when: (X)

                         CONTINUED

                         

                         

                         

                         

                         P-

                         18

                         60 CONTINUED - 60

                         0

                         THORNBERG'S VOICE
          - no, you did not explain anything
          - all you did was shove me a- -here
          in this cattle car -

                         STEWARDESS' VOICE
          - Sir, you were told when you boarded
          that we were overbooked -
          Holly looks up idlely - and then REACTS as she sees -

          61 DICK THORNBERG - HER POV 61
          Her nemesis from 20 months ago, here waving, his ticket and
          fending off the Stewardess' friendly hands.

                         THORNBERG
          Fine. Done, I accept it. But why
          the hell can't I get the First Class
          Meal--my-Network paid for instead of
          this swill?

                         STEWARDESS
          I'm sorry, sir, I can't do that now
          - If you'll just sit down - ?

                         THORNBERG
          Do youknow who I am?

                         STEWARDESS
          Yes. We've all seen your program.
          Your episode "Flying junkyards" was
          a very objective look at air safety.

                         2ND STEWARDESS
          It wasn't nearly.as edifying as
          "Bimbos of the Sky", was it, Connie?

                         THORNBERG
          You think you're funny?
          (looking at,her nametag)
          'I've got your number

                         2ND STEWARDESS
          (pushing him in seat) (X)
          And I've got yours - so park it, pal!

                         62 NEW ANGLE 62
           Thornberg simmers - and then he SEES HOLLY. FOCUS CHANGE.

                          THORNBERG
           Stewardess!

                          CONTINUED

                         

                         

                         

                         

                         19

                         62 CONTINUED - 62

                         STEWARDESS
          Mister Thornberg - you cannot
          monopolize my -

                         THORNBERG
          You cannot put me near that woman.

                         STEWARDESS
          Excuse me?
          CAMERA ADJUSTS to feature Holly - and the Stewardess' growing
          fascination with her.

                         HOLLY
          He.means he has filed a restraining
          order against me. I'm not allowed
          within fifty feet of him -

                         THORNBERG

                         FIFTY YARDS
          - (to Stew ardess)
          And by seating me here you're
          violating a court order - I could
          sue you and this airline - this woman
          has assaulted me and besmirched my

                         REPUTATION -

                         STEWARDESS
          (kneeling, sotto)?
           What'd you do?

                          HOLLY
           I knocked out two of his teeth.

                          STEWARDESS

                          (PAUSE)
           Would you like some champagne?

                          CUT TO:

          63 THE GUNMAN'S BODY 63
          as it is ZIPPED into a body bag, our view of the mangled head and
          shoulders mercifully brief. The body is set on a gurney. We
          WIDEN and see Airport police and coroner's people about to make
          off with it... and the MEDIA, now drooling over this new story
          dropped right into their laps. As FLASHBULBS POP and CAMERAS
          ROLL, Sam NOTICES -

                         64 MCCLANE 64
          One of the cops hands McClane his wallet. As he pockets it,
          he notes the CROWD milling about the luggage area.

                         CONTINUED

                         

                         

                         

                         

                         20

                         (X)

          -,� 64 CONTINUED - 64

                         MCCLANE
          Whoa, wait a second. This is a crime
          scene. Aren't you going to seal off
          this area?

          2ND AIRPORT COP
          That's up to the Captain.

                         MCCLANE
          Up to the Captain? Take me up to
          the Captain, too.

                         CUT TO:

          65 INT. VIRGINIA CHURCH - DAY 65

          BAKER guards the rear door with an ASSAULT RIFLE. He REACTS,
          tense as a FIGURE appears, running up from the snowy expanse
          behind the church. It's 'filer- the man who escaped from
          McClane. Baker waves him in.
           KAHN and B� are DIGGING in theme y rd with pickaxes and hardly
           0o at him. �

                         66 INSIDE 66
          Stuart's poring over MAPS of the airport. He looks up,
          nonplussed; wipes away SNOW that falls from Mi� 1 's shoulder to
          the table top.

                         STUART
          You're late.

                         MILLER
          We ran into trouble; a policeman.
          He killed Cochrane; I barely got
          away.

                         STUART
          Did you finish your assignment?

                         MILLER
          Yessir. But -

                         STUART
          Then the damage is minor.
          (drawing a PISTOL)
          But the penalty could be severe.
          In a blur of motion, Stuart is on his feet, the pistol is at
          Miller's temple. CLICK.

                         CONTINUED

                         

                         

                         

                         

                         21

                         66 CONTINUED - 66

                         STUART(CONT'D)
          (as Mil a SHUDDERS)
          Fail me again and it won't be an empty
          chamber. Dismissed.

                         CUT TO:

          67 INT. AIRPORT POLICE OFFICE--DAY 67

          McClane comes in, first double taking the name on the door:

          CARMINE LORENZO, CAPTAIN OF AIRPORT POLICE.
          The man himself - a 20 year veteran of bureaucratic wars that
          have earned him this little kingdom - rises behind his desk.

                         LORENZO

                         YOU -
          (a glance at a FAX)
          McClane?

                         MCCLANE
          Lorenzo?

                         LORENZO
          Captain Lorenzo.

                         MCCLANE

                         (SHOWING BADGE)
          I'm the one who -

                         LORENZO
          Yeah, I know. You think that LA
          badge is gonna get you a free lunch (X)
          or something down here?

                         MCCLANE
          No. Just a little professional
          courtesy.

                         LORENZO
          In an airport Christmas week? You
          gotta be kidding.

                         MCCLANE
          Okay. Forget the courtesy. How about
          lust the professional? Your boys
          dust walked away from a crime scene
          - you need to seal it off, get a
          forensics team in, dust it, shoot

                         IT-

                         LORENZO
          And what do we do with all the luggage
          for all the airplanes while we play
          Charlie Chan?

                         CONTINUED

                         

                         

                         

                         

                         22

                         67 CONTINUED - 67

                         MCCLANE
          You store them somewhere -

                         LORENZO
          Oh. And meanwhile every hour a few
          more thousand people come and they
          want to put their luggage on
          airplanes, so we store them and their
          luggage in some other "somewhere"?
          Hell, why don't we shut down the whole
          fucking airport? Whaddya think they'll
          say upstairs when I tell them that?

                         MCCLANE'
          Why don't you try it and find out?

                         F LORENZO
          Because I don't need a forensics
          investigation to file away some punk
          stealing luggage -

                         MCCLANE
          Luggage? That "punk" pulled a Glock
          Seven on me. Know what that is?
          A porcelain gun from Germany. It
          doesn't show up on airport x-ray
          machines... and it costs more than
          you earn in a month.

                         LORENZO
          You'd be surprised what I earn in
          a month.

                         MCCLANE
          If it's more than a dollar eighty
          nine, yeah -

                         LORENZO

                         (SHARP)
          McClane, don't start believing your
          .own press.
          (on McClane's look,
          waving the FAX) (X)
          Yeah, I know who you are, that
          Nakatomi thing in LA. Just 'cause
          the TV thought you were hot shit don't
          make it so. This time you're in my
          little pond, and I'm the big fish
          that runs it. Now you capped some
          lowlife, fine. I'll send your fucking
          Captain in L.A. a fucking
          commendation.
          He hits a BUZZER. Immediately two burly AIRPORT COPS appear in
          the doorway.

                         CONTINUED

                         

                         

                         

                         

                         23

          F� 67 CONTINUED - (2) 67

                         LORENZO
          Now get the hell out of my office
          before I have you thrown out of my
          airport!
          McClane moves towards the door, his hands waving off the would be
          bouncers.

                         MCCLANE
          (turning at the door)
          One question, Carmine: Which sets
          off the metal detectors first: The
          shit in your brains, or the lead in
          your ass?

          68 EXT. AIRPORT POLICE OFFICE - DAY 68

          McClane comes out of Lorenzo's office, steaming. He walks down
          the corridor - looks back at one of the stocky Airport cops
          -fakes a smile - when the guy turns away McClane punches the
          wall.
          Then a CLATTER announces the PASSAGE of the morgue guys, the BODY
          on their gurney. McClane moves aside, watches them, thinking...
          getting an idea.

                         CUT TO:

          69 A RENT A CAR DESK 69
          the girl here lost in a romance novel-

                         MCCLANE
          Excuse me.
          He reaches over, gently takes typing paper and a stamp pad.

                         GIRL

                         (TOO LATE)
          Hey!

                         70 PARKING GARAGE 70
          McClane catches up to the morgue guys as they reach their wagon.

                         MCCLANE
          Whoa, guys.
          (ver quickly showing

                         HIS BADGE)
          Gotta check something.
          Before they can react, he's UNZIPPED the bag, yanked out the
          guy's right hand.

                         CONTINUED

                         

                         

                         

                         

                         24

                         CONTINUED - 70

                         MORGUE WORKER
          What're you doing?

                         MCCLANE
          (inking the guy's fingers)
          Didn't you ever have an airport stiff

                         I
          before? We need an FAA ID on your

          DOA.
          He presses the fingers against the paper, checks them. (The hand
          he's released remains straight up.)

                         MCCLANE
          Yup, he's dead,. all right. Thanks.
          And he's gone as they look after him, puzzled.

                         CUT TO:

                         I

          71 EXT. VAL VERDE MILITARY TRANSPORT - IN FLIGHT - NIGHT 71

          cruising along, its FIGHTER ESCORT a few wingtips away. Now, the
          fighter WAGS ITS WINGS and PEELS AWAY.

          72 INT. MILITARY TRANSPORT - NIGHT 72

          CAMERA MOVES from the cockpit back through the rest of the plane.

                         CO-PILOT
          Ay, Alle va nos escorto.

                         PILOT
          Es bueno; el peligro es pasado.
          Estamos segur hasta los Estados
          Unidos. Cuanto tiempo?

                         CO-PILOT

                         (CHECKING WATCH)
          Tres horas y media.
          By now we are on Esperanza. Looking astonishingly carefree, (X)
          he smiles at the young CORPORAL guarding him, puffs on a cigar... (X)
          and casually examines the military chronometer on his handcuffed (X)
          wrist. We PUSH IN on it. (X)

                         CUT TO:

          73 INT. VIRGINIA CHURCH 73

          WIDEN from Stuart's Huer, showing the exact same time. Now we
          SEE that the church is full of ELECTRONIC EQUIPMENT: In fact,
          it looks very much like a mini-version of an airport control
          tower, complete with radar screens and a big glass board to mark
          positions on.

                         CONTINUED

                         

                         

                         

                         

                         25

                         (X)

                         CONTINUED - 73
          CAMERA follows a MAN with a Pizza sized RADAR DISH as he crosses
          the room, a CRONY unrolling WIRE behind him.
          CRANE UP as the man CLIMBS into the STEEPLE... UP, UP, UP, until
          he's in the BELFRY where a PRERIGGED TRIPOD WAITS for the dish.
          As he CLAMPS it in place we SEE the yard behind the church and
          the SPARKLE of WELDING TOOLS; someone is making CONNECTIONS
          to the now open conduit box and underground CABLES.

                         CUT TO:

          74 INT. TERMINAL - RENT A CAR COUNTER 74


                         MCCLANE
          Excuse me, honey - can I borrow your
          office for a minute?
          Before she can answer, he's over the counter and reaching for her
          phone.

                         CUT TO:

          75 INT. LAPD OFFICE - NIGHT 75

          The office he's in shows us that AL POWELL has moved up in the
          world - and Twinkies have move up along with him.

                         POWELL
          (swallowing, answering

                         PHONE)
           Records. Sgt. Powell -

          76 MCCLANE - AT RENT A CAR COUNTER - INTERCUT 76

                         MCCLANE
          Hey, partner. Get that twinky out
          of your mouth and grab a pencil.

                         POWELL

                         (LAUGHING)
          John, how you doing? How's the
          vacaction treating you?

                         MCCLANE
          Vacation? Holly stood me up for a
          last minute meeting. I'm alone in
          DC with the in-laws.

                         POWELL
          Ah, the in-laws. They love their
          policemen son-in-laws, don't they?

                         CONTINUED

                         

                         

                         

                         

                         26

                         (X)

                         76 CONTINUED - 76

                          MCCLANE
           R' ht. Listen, Al, what's our FAX
           n u mber in the station there?

                          POWELL
          550-3212. This is a first.

                         MCCLANE
          Yeah, well my wife's company makes
          'em, I figure it's time to get one
          of them pregnant.
          (aside to girl)
          This way?

                         (AH)
          This way.
          The FAX starts to leave McClane - voila, it's already arriving at
          Powell's office.

                         POWELL
          (as it arrives)
          Fingerprints?

                         MCCLANE
          From a stiff down here at Dulles.
          I marked the whorls with a pen in
          case the transmission's fuzzy. Can
          you run that through State and Federal
          for me - throw in Interpol if you
          got it.

                         POWELL

                         (WATCHING IT)
          Will do. What's this about?

                         MCCLANE
          I don't know. Just a feeling.

                         POWELL
          Ouch. You get those feelings
          insurance companies start to go
          bankrupt.

                         MCCLANE
          The FAX number is uh -

                         GIRL
          -on the top edge of the transmission
          he just got -

                         MCCLANE

                         (AUTHORATIVELY)
          -on the top edge of your transmission.

                         CONTINUED

                         

                         

                         

                         

                         27

                         (X)

                         76 CONTINUED - (2) 76

                         POWELL
          Airport, huh? You're not pissing
          in somebody's little pool, are you?

                         MCCLANE

                         (GRINNING)
          Break out the chlorine.

                         CUT TO:

          77 INT. HOLLY'S PLANE 77

           The nice stewardess comes over to Holly, takes her glass.

                          STEWARDESS
           Need another?

                          HOLLY
          I don't think so.

                         (INDICATING THORNBERG)
          I only have to look at his face for
          fifteen more minutes.

                         CAPTAIN'S VOICE

                         (OVER PA)
          Ladies and Gentlemen, I've just been
          informed by Dulles traffic control
          that a new weather front is moving
          in ahead of us. We may be up here
          for a little while longer...
          GROANS. COMPLAINTS. Holly holds out her glass.

                         HOLLY
           Yes. Another.

                          CUT TO:

          78 INT. RENT ACAR BOOTH 78

          McClane paces, smoking. RRING. Both the FAX machine and the
          telephone light up. McClane beats her to it.

                         MCCLANE
          Al?

          79 POWELL - IN HIS OFFICE - INTERCUT 79

                         POWELL
          Right here, partner. Your stiff's
          dossier is coming through right now.

                         MCCLANE
          What can you tell me?

                         CONTINUED

                         

                         

                         

                         

                         79 CONTINUED - 79

                         POWELL
          He's dead.

                         MCCLANE
          You needed a computer for that?

                         POWELL
          No, you don't follow me. According
          to the Department of Defense, he's
          been dead for 2 years.

                         MCCLANE
          What?

                         POWELL
          Yup. S/Sgt. Oswald Cochrane.
          American advisor in Honduras, killed
          in helicopter accident 5/11/88.
          (reading the page)
          Read between the lines of his military
          record and it looks like a lot of
          black bag stuff.

                         MCCLANE
          Yeah, I see it. Thanks a lot, Al.
          I owe you.
          He hangs up. The girl gives him the eye.

                         GIRL
          Say, I close in an hour... maybe we
          could...

                         MCCLANE
          (showing his wedding ring)
          Just the FAX,, ma'am. Just the FAX.

          80 EXT. RENT A CAR AREA 80

          McClane comes out, deep in thought - gets on an walkway.
          Suddenly the CLICK of HEELS makes him turn.
          Sam Coleman is trotting down the linoleum next to the walkway,
          trying to keep up with him.

                         SAM
          The Ghost of Christmas Past.
          Nakatomi? LA? You're John McClane,
          right?

                         MCCLANE
          Depends who you are.

                         CONTINUED

                         

                         

                         

                         

                         29

                         (X)

                         80 CONTINUED - 80

                         SAM
          Sam Coleman, WADC news -
          (as McClane REACTS)
          Hey, I know how you feel about the
          media, but we're not all like that
          putz Thornberg - he crossed the line.
          That's why they canned him out in

          LA.

                         MCCLANE
          Yeah. Now he's on the Network
          interviewing Transsexual Gum Surgeons
          and laughing all the way to the bank.

                         SAM
          Okay. The guy makes Geraldo look
          like Walter Chronkite. Doesn't mean
          you can't cut me some slack. I saw
          the stiff. Word is that was your
          handiwork.

                         MCCLANE
          Nah. I do needlepoint.
          And he's at the end of the walkway and he quickly disappears
          into the crowd, leaving Sam pissed, puzzled... and out of
          breath.

          81 INT. "THE CAB" - NIGHT 81

          Lorenzo has joined the regulars here to cover his ass

                         LORENZO
          -well, the press was here, crawling
          all over the Esperanza story... so
          they got it right on the fucking news,
          bloodstains and all...

                         TRUDEAU
          Couldn't be helped, I guess. What
          was it, gangs?

                         MCCLANE'S VOICE
          Yeah... if your gangs get their
          training at Fort Bragg.

                         82 NEW ANGLE 82
           Surprised, they turn to see McClane step out of the elevator.

                          TRUDEAU
           Who the hell is this?

                          CONTINUED

                         

                         

                         

                         

                         30

                         (X)

                         82 CONTINUED - 82

                         MCCLANE
          (pushing past Lorenzo)
          I'm a police officer, Mr. Trudeau-

                         LORENZO
          L.A., Mr. Lorenzo-don't mean shit-

                         TRUDEAU
          That's what I said about my last
          cholesterol test. What's your problem-

                         (READING BADGE)
          Lieutenant McClane?

                         MCCLANE
          I think something serious is going
          to happen here tonight -

                         TRUDEAU
          Hey. Something serious happens every
          night, only it doesn't make the
          newspapers. Ever see those guys
          on TV, juggling knives and cha n
          i saws? That's what we're doing with
          those planes up there, only we do
          it one handed 'cause the other hand's
          playing 3 card monte with the planes
          on the ground.

                         MCCLANE
          Anybody try and fix the deck tonight?
          (on his look)
          Anything weird going on besides the
          shooting?

                         BARNES
          We did. lose FAA approach control-

                         MCCLANE
          What's that?

                         TRUDEAU
          One way we manage the planes. But
          we've got backup -
          Long look from McClane.

                         CUT TO:

          83 EXT. VIRGINIA CHURCH - BACK YARD 83

          Burke turns off his acetyline torch, flips up his face shield.

                         BURKE
          We're hot!

                         

                         

                         

                         

                         31

                         (X)

          84 INT. VIRGINIA CHURCH 84


                         STUART

                         (TO GARBER)
          Light it up.
          Signal is given. Switches are thrown. CAMERA PANS OVER-and
          UP to the CHOIR LOFT, which is electronic heaven. EVERYTHING

          COMES ON LINE.

                         STUART
          5 minutes to zero hour. Stand by.

          85 INT. CAB - NIGHT 85


                         MCCLANE
          Okay. You clot back-up - back-up
          for everything you think can go wrong.
          What about something nobody
          anticipated? Not accidents, not

                         WEATHER -

                         F

                         TRUDEAU
          (a bit dryly)
          The human element..?

                         MCCLANE
          Damned straight the human element.
          You've got the world's biggest drug
          dealer on the way, one body and a'-
          lot of questionsl Doesn't anyone
          want to look for answers?

                         TRUDEAU
          (after a moment)
          Lorenzo. Have all your shift
          Commanders report in... now.

                         LORENZO
          What? You're buying into this -

                         TRUDEAU
          I want them to report anything out
          of the ordinary --no matter how
          trivial. You got that?

                         LORENZO
          (annoyed, but obeying)
          I got it.

                         BARNES
          Oh, my God...
          Everyone turns at the chill in Barne's voice.

                         TRUDEAU
          What is it?

                         CONTINUED

                         

                         

                         

                         

                         32

                         85 CONTINUED - 85
           But Barnes doesn't reply... just tries - and fails - to point out
           the window. Everyone turns. (X)

          86 REVERSE ANGLE - OVER THEIR SHOULDERS 86
          Slowly, without any fuss, and with a pattern of sorts that would
          be pretty if the impact wasn't so frightening... slowly, ALL THE

          RUNWAY LIGHTS ARE GOING OUT.

                         MCCLANE
          Jesus...

          87 INT. VIRGINIA CHURCH - SAME TIME 87

          As Stuart's TECH throws more and more SWITCHES -

                         88 THE CAB 88
          - and more and more runways go DARK.

                         TRUDEAU
          Go to emegency lighting... now! (X)

                         BARNES
          Emergencies! Controllers, Code (X)
          Yellow!
          People leap into action... meanwhile, Trudeau and the others MOVE
          around the tower, the CAMERA FOLLOWING in a 180 TURN, watch as
          the LIGHTS KEEP GOING OUT.

                         TECHNICIAN
          Back up systems won't come up-!

                         TRUDEAU
          Shunt to another terminal!

                         TECHNICIAN
          This ain't software, boss -

                         LORENZO
          Maybe we should call the power
          company...?

                         TRUDEAU
          We're on the same Goddamn grid and
          we're hot!
          Already the SPEAKER BOXES are beginning to CHATTER -

           PILOT'S VOICE 2ND PILOT'S VOICE
          (panicked) Dulles Tower, this is TWA
          Dulles, what's going on? 23 -what the hell happened
          I'm in approach - - to you -?

                         CONTINUED

                         

                         

                         

                         

                         33

                         (X)

                         88 CONTINUED - 88

           CONTROLLER 2ND CONTROLLER
           604, pull up. Return to You're not in approach, 23.
           holding altitude. Stand by for instructions...

                         BARNES

                         (COMING OVER)
          Checked all systems. It ain't
          happening.
          And now, God help us, all REACT to ANOTHER ALARM.

          89 IN THE VIRGINIA CHURCH 89
          A CABLE yanked from the ground gets CUT, SPARKING -

                         90 THE CAB 90
          WHIP PAN to an ENGINEER -

                         ENGINEER

                         (PANICKED)
          Approach control backup! It's gone!

          91 IN THE CHURCH'S BACKYARD - SAME TIME 91
          GLOWING FIBER OPTIC CABLE stretched like a sacrifice on a BLOCK
          -AXE BLADE swoops down - SPARKS. The LIGHT DIES -

          92 IN THE CAB - SAME TIME 92

                          2ND ENGINEER
           Jesus! Instrument landing system
           i s c l own!

                         BARNES
          Confirmed! ILS is dead - every
          Goddamn system is dead!

                         TRUDEAU
          (quick, commanding)
          Jacoby, Strauss. Get your controllers
          on the horn - every plane approaching
          our Vortacs that's not in our pattern
          yet gets turned away'now. Everyone
          already inside our patrn holds at
          the outer marker. Stack 'em, pack
          'em, and rack 'em. Move.
          (to another man)
          I want every off duty controller and
          technician here in five minutes.
          Page the terminal - no, better, beep
          them.

                         (TURNING)
          McClane. This what you were
          expecting?

                         CONTINUED

                         

                         

                         

                         

                         34

                         (X)

                         92 CONTINUED - 92

                         MCCLANE
          This? This ain't it, pal. This is
          just the beginning.
          A PHONE RINGS. CAMERA ADJUSTS. It's a prominent RED PHONE.

                         BARNES

                         (HOPEFUL)
          FAA hotline -!

                         I

                         LORENZO
          How could they know already -?

                         MCCLANE
          Maybe they don't.

                         (TO TRUDEAU)
          Maybe... it's them.

                         TRUDEAU
          (a look at McClane, then;)
          Put it on speaker.

                         STUART'S VOICE
          Attention, Dulles Tower. Attention,
          Dulles Tower -

          93 INT. VIRGINIA CHURCH NIGHT 93

          Stuart is using a phone that's PATCHED IN to the cables ripped
          from the earth -

                         STUART

                         (DRYLY)
          I think by now I've got your
          attention. I know your recorders
          go 24 hours around the clock, so I'll
          be quick -you can play me back later
          all you want.

          94 INT. CAB - INTERCUT 94


                         TRUDEAU
          How. did you get on this line? Who
          is this?

                         STUART
          Who I am is unimportant. What I
          want... well, if you don't want those
          planes overhead to start dropping
          like flies when they run out of
          fuel... what I want is very
          important.
          All REACT - McClane as much as anyone.

                         CONTINUED

                         

                         

                         

                         

                         35

                         (X)

                         94 CONTINUED - 94

                         STUART(CONT'D)
          A plane is going to be landing at
          this Airport in 58 minutes. It is
          FM 1 - Foreign Military 1.

                         MCCLANE
          Esperanza?
          Trudeau nods -

                         STUART
          This plane is scheduled to be met
          by a continigent from the U.S.
          Justice-department. But now there
          will be a change of plans. This plane
          will not be met by anyone. It will
          land on a runway of my designation
          where it will not be molested. That
          will conclude my interest in that
          plane and your responsibility for
          it. At the same time, I want a 747
          cargo conversion fully fueled.

                         95 FAVORING MCCLANE 95
          As Trudeau tries to make headway with Stuart, McClave leans over
          to Barnes.

                         MCCLANE
          What's all that about?

                         BARNES
          A 747 has the furthest flight
          capacity of anything we've got here.
          Take out the seats and save some
          weight, add the wing tanks and it
          could go to Australia, Africa, Asia
          - hell the whole Goddamn world.'

                         MCCLANE
          Meaning they pull Esperanza off his
          plane and take him anywhere there's
          no extradition treaties.

                         LORENZO
          They're talking to us on our own
          Goddamn system! They gotta be close
          - I'll have my men tear this airport

                         APART -

                         MCCLANE
          About time, Carmine. Guess you have
          to light a fire under your ass to
          light a fire under your ass.

                         CONTINUED

                         

                         

                         

                         

                         36

                         (X)

                         95 CONTINUED - 95

                         CD

                         LORENZO
          McClane, I got a first class unit
          here, SWAT team and all, and we don't
          need any Monday morning quarterbacks.

                         MCCLANE
          (pissed, moving in)
          Monday morning? My wife's on one
          of those planes these aasstards are
          fucking with! That makes me a player
          on the fucking field, you putz! And
          if you got off your fat ass when I
          told you to, maybe we wouldn't be
          knee deep in shit right now!

                         LORENZO
          (turning, shouting)
          Security!
          (back to McClane)
          You're out of here!
          And already two big Airport cops are trotting over. As Trudeau
          REACTS, unsure -

                         LORENZO
          Mr. Trudeau. Do I have to remind you
          about FAA regulations regarding
          unauthorized personnel in the control
          tower?

                         TRUDEAU

                         (TO GUARDS)
          See Mr. McClane out.

          96 AT THE ELEVATOR 96
          It opens. Someone's inside., but we don't feature them yet.

                         MCCLANE
          (as he's muscled in)
          Trudeau, can't you see you're dealing
          with pros? You can't fuck with these

                         GUYS -
          Sam comes out of the elevator, holding up her ID.

                         SAM

                         (TO TRUDEAU)
          Sam Coleman, WNTW news. Mr. Trudeau,
          there's a lot of rumors flying around

                         THE -

                         LORENZO
          Oh, no, no way -

                         CONTINUED

                         

                         

                         

                         

                         37

                         (X)

          -96 CONTINUED - 96

                         TRUDEAU
          This is off limits, Coleman, you know
          that!
          Together with McClane she's shoved into the elevator.

                         MCCLANE
          Anything you can think-of, they'll
          think of, too!
          But the elevator DOORS CLOSE on him and now Lorenzo turns a KEY
          on the control panel, then SPEAKS into his walkie talkie.

                         LORENZO
          Lobby Security, come in.

          96A AIRPORT - LOBBY - INTERCUT 96A

                         LOBBY COP
          (into RADIO),
          Tomlinson here -

                         LORENZO
          And Lorenzo here, with two
          unauthorized personnel in the fucking
          tower! Get your thumb out of your
          ass and get over to the elevator.
          Get them out and post a guard or
          you're gonna have a pink slip in your
          Christmas stocking!
          Rattled, the guard signals a comrade, hustles to obey.

          97 IN THE ELEVATOR 97

                         SAM
          Anything who can think of? Can't
          fuck with.what guys?
          McClane punches buttons. But it's on override.

                         MCCLANE
          Shit!

                         SAM
          Big drug dealer on the way to prison.
          Gunfight in airport. Every controller
          in the coffee shop getting beeped
          and hauling ass, and you rocking the
          boat. A connection? Come on, McClane
          -Just a few words -?

                         CONTINUED

                         

                         

                         

                         

                         38

                         97 CONTINUED - 97

                         MCCLANE
          (opening the control

                         PANEL)
          How about "fuck" and "you"?

                         SAM
          I already got that from Colonel
          Stuart, thanks -!
          McClane STOPS as if zapped by a Taser.

                         MCCLANE

                         (REALIZING)
          Stuart! The guy who got canned by
          Congress - that's who he was-

                         SAM
          Huh? Who he who?
          But McClane has already jumped up and grabbed the light fixture,
          and now in a gymnast's move KICKS out the ceiling hatch and
           disappears through the roof! (X)

                         98 NEW ANGLE 98
           The door opens. The GUARDS there REACT to the open ceiling. (X)
           Sam shrugs.

                          SAM
           Claustrophobic, I guess.

                          CUT TO:

          99 INT. CAB - NIGHT 99

          TILT UP from a big map of the airport. Lots of AD-LIB
          BRAINSTORMING, some of it breaking through - some how one reedy
          hesitant voice cuts through with nothing but confidence

                         BARNES
          --guys, guys, all we have to do is
          find a way to transmit - (X)

                         1ST ENGINEER

                         (SARCASTIC)
          Yeah, right. Somebody run down to
          Radio Shack and get a transmitter-

                         BARNES
          We have one.

                         (POINTING OUTSIDE)
          The new terminal wing they're
          building? Twenty airlines when it's
          done?

                         (MORE)

                         CONTINUED

                         

                         

                         

                         

                         39

                         (X)

                         CONTINUED - 99

                          BARNES (CONT'D)
          All with their reservation computers,
          all tied into a nice big antenna
          array so they can talk to their home
          offices- it's just sitting there
          waiting to go on line -

          I 2ND ENGINEER
          That's VHF - it'll scatter -

                         BARNES

                         I
          Doesn't matter; The planes we want
          to reach are right overhead. I could
          rig our frequency in - 30 minutes...
          wire in a crossover and we're hot.
          The planes wouldn't even know the
          difference.

                         TRUDEAU
          Get what you need. Borrow, steal,
          kill.

                         LORENZO
          (heading for the elevator)
          I want my Swat team to go with him
          as cover.
          (firm, tough)
          Whatever we can think of - they can
          think of, too.
          He says it like he thought of it himself. Then -

                         STUART'S VOICE
          Attention, Tower. You have two more
          minutes to stack the planes in your
          inbound pattern over your outside
          radio marker. After that you will
          be able.to receive only. Any attempt
          to restore your systems will be met
          by severe penalties.
          At the elevator, Lorenzo pauses - stage WHISPERS -

                         LORENZO
          He's bluffing -
          Lorenzo leaves. Trudeau ain't so sure.

                         TRUDEAU

                         (TO STUART)
          Damn it, you can't do this -!

                         STUART
          I am doing this.

                         CONTINUED

                         

                         

                         

                         

                         99 CONTINUED - (2) 99

                         TRUDEAU
          (pause; to Barnes)
          Put me on all bands...
          Trudeau waits as switches are thrown, and then takes the jack
          from the ear/phone he wears and jacks it into a panel.

                         TRUDEAU
          This is Dulles approach to all
          aircraft holding.at Potomic Vortac.
          We are experiencing...

                         (PAUSE)
          Severe technical problems here.

          100 INT. VARIOUS CIRCLING AIRCRAFT - COCKPITS - INTERCUT 100

          As CONCERNED CREWS in each listen to:

                         TRUDEAU(CONT'D)
          Our NAV and Approach systems are
          down and we expect to lose voice in
          another minute. We want you to
          continue holding at the outer marker
          as directed and wait for further
          instructions. As - as soon as we're
          back on line we'll expedite your
          landings on a.fuel emergency basis.
          Good luck...

                         (PAUSE)
          God bless.
          He turns to a tech, face ashen.

                         TRUDEAU
           Okay. Change the boards.

                          CUT TO:

          101 INT. DULLES - MAIN TERMINAL - NIGHT 101

          ANGLE ON a bank of ARRIVAL MONITORS. Already a quarter of the
          planes are DELAYED by weather; but now, in a domino like
          PATTERN, all the remaining FLIGHT DATA changes to DELAYED.
          CAMERA ADJUSTS to show PEOPLE REACTING with frustration and
          concern.

                         CUT TO:

          102 INT. DULLES BASEMENT 102

          Pretty dark and creepy for a place only 25 years old. A
          FLASHLIGHT BEAM PANS THE LENS. We SEE the two lobby guards as
          they search the basement. They move AWAY from the CAMERA.
          Pause.

                         CONTINUED

                         

                         

                         

                         

                         41

                         (X)

                         102 CONTINUED - 102
          McClane APPEARS in the gloom close to CAMERA, clothes now a
          little greasy and dirty from his little escape.

                         MCCLANE
          (sotto, to himself)
          I don't believe this... another
          fucking elevator... another fucking
          basement... why does this always
          happen to me?
          He moves through the cavernous maze, and then REACTS to MUSIC.
          Moves towards it. And arrives in -

          103 AN ... APARTMENT 103
          Or something like it: Here, in an area reached only my somebody
          with a groundhog in his ancestry, is a space with some battered
          chairs, a 3-legged card table, a cot made up with faded but neat
          covers, some 50's vintage.(but lovingly scotch taped) PIN UPS,
          and a tiny kitchen precariously propped up on a big purple
          plumbling valve on the wall.

          104 ON A PHONOGRAPH 104
          The SOURCE of.the music, a 78 SPINNING on the old machine.
          McClane's HAND picks it up and we WIDEN as he looks at it
          curiously.
          A HAND reaches for McClane's shoulder.

                         105 NEW ANGLE 105
          McClane's instincts take over; in a flash, he WHIRLS and his
          would be attacker is pinned against a wall. It's a wizened MAN
          in his 60's who now raises his hands to show he ain't looking
          for trouble.

                         MCCLANE
          Who the fuck are you?
          In response, the man points to the NAMETAG on his coveralls.

                         MAN (MARVIN)
          Marvin, I'm Marvin. Thought you was
          tryin' to steal my records, that's
          all.
          He moves to them, possessively.

                         MARVIN(CONT'D)
          They're valuble, you know. Me, I
          like those old 78's. Won't find me
          switching like everybody else to these
          new fangled 45's.

                         CONTINUED

                         

                         

                         

                         

                         42

                         (X)

                         105 CONTINUED - 105
          McClane reacts to that, peers at him.

                         MCCLANE
          You're what, the janitor?

                         MARVIN
          Damn straight. Janitor, and proud
          of it. Don't need any of this new
          fangled custodial engineer crap.
          Just do my job and screw the fancy
          talk. You know, you're not supposed
          to be down here.

                         MCCLANE

                         (LOOKING AROUND)
          Yeah. Just like you're not supposed
          to be living here.

                         MARVIN
          W-who said I was living here?
          McClane shows his badge.

                         MCCLANE
          Come on, Marvin. I wasn't born
          yesterday. Carmine Lorenzo know you
          don't go home after you punch out?

                         MARVIN
          L-Lorenzo? C-come on, officer, I
          can barely get by, even with my
          pension. You know, I'm a vet, WW
          2? If it wasn't for guys like me,
          you kids' be eatin' sushi today.
          I'm just trying to. save a few. bucks
          -I could. get fired if you tell.
          McClane moves over to a big panel with telephone lines and jacks.
          Examines it as he speaks.

                         MCCLANE
          I'm a veteran myself, Marvin. And
          a married one. You married?

                         MARVIN
          Six times.

                         MCCLANE
          My wife may be in some trouble
          upstairs. I gotta find out. This
          set up of yours? I won't tell a
          soul... provided you patch me into
          this panel, 'let me eavesdrop on the
          tower. What do you say?

          CONTINUED.

                         

                         

                         

                         

                         43

                         (X)

                         105 CONTINUED - (2) 105

                         MARVIN
          You a cop or a lawyer?

                         CUT TO:

          106 INT. AIRPORT POLICE OFFICE - NIGHT 106

          There hasn't been this much activity here since Gorbachov dropped
          in. FIVE SWAT OFFICERS check gear, leave the office at
          Lorenzo's signal -

                         LORENZO

                         (INTO PHONE)
          I'm sending the SWAT team over for
          Barnes now - we don't need the Goddamn
          Christmas tourists seeing guns and
          flipping out so they'll take him the
          long way around...

          107 IN BASEMENT - TIGHT ON ALLIGATOR CLIPS 107
          We WIDEN as Marvin connects them to one set of bolts, then
          another. 'McClave shakes his head. No... no...yes!

                         LORENZO'S VOICE
          Through the annex skywalk to the new
          terminal... that way nobody sees them,
          we don't have any panic.

                         TRUDEAU'S VOICE
          And we don't want any disasters.
          Barnes has five minutes to check out
          that antenna array.

                         MCCLANE
          (aside to Marvin)
          Christ. They're gonna try something
          cute... where's this annex skywalk?

                         MARVIN
          Annex skywalk...? Sounds like the
          pissant World's Fair...
          He rummages around, finds a big wrinkled MAP, smoothes it out.

                         MARVIN(CONT'D)
          Lemme see... yeah, must be this...
          connects to the new terminal -
          Marvin points to an ELEVATED WALKWAY connecting the two
          complexes.

                         CONTINUED

                         

                         

                         

                         

                         44

                         (X)

                         107 CONTINUED - 107

                         MCCLANE
          (looking at map)
          Shit, it's a fucking bottleneck.
          Anybody smart enough to shut down
          the airport is smart enough to figure
          this... it's a perfect place for an
          ambush...

                         CUT TO:

          108 INT. TERMINAL ENGINEERING OFFICE - NIGHT 108

          Barnes, nervous, throws things into a metal case.
          His fellow engineers watch, curious, as he EXITS with the FIVE
          SWAT COPS. CAMERA FOLLOWS the four men past -

          A) BANKS OF COMPUTERS -

          B) COMPUTERIZED WEATHER MAPS -

          C) AN L.E.D. DULLES MAP -
          all of it useless, all of the operators watching their only hope
          Barnes.

                         CUT TO:

                         109 BASEMENT 109
          A MOUND of CRINKLED PAPERS is FLATTENED against the card table.
          We WIDEN, see it is an architect's PLANS of the entire Dulles
          netherworld, cribbed by Marvin and now festooned with his various
          multi-color jotes and notes.

                         MARVIN
          Now, see? Here's you. And here's
          the skywalk.

                         (POINTING)
          Now, check this out...

                         MCCLANE
          Tunnels.

                         MARVIN

                         (NODDING)
          Like the Japs had all over Iwo Jima.
          That's where I got wounded. But we
          put those little twerps in their place
          once and for all.
          (pointing to the map)
          These are air ducts for all the
          terminals. Heating, cooling. Whole
          shebang.

                         (MORE)

                         CONTINUED

                         

                         

                         

                         

                         45

                         (X)

                         109 CONTINUED - 109
           MARVIN (Cont'd)-
          So I put you in the boiler room
          where they start, and you come out
          there.

                         MCCLANE
          Looks like... maybe a mile. Easy
          jog.

                         MARVIN

                         (AMUSED)
          Uh-uh. It's a pisser of a crawl.
          And that's the easy part; firs
          you gotta be an acrobat.

          110 INT. BASEMENT -- DUCT ACCESS 110

          With a cordless drill, Marvin unhinges the access door. Last
          bolt, it falls with a sheet-metal SLAM.
          McClane WINCES as a BLAST of AIR hits him - and, as. perspiration
          breaks out on his forehead, we realize it's hot air.

                         MCCLANE
          Whoa.

                         MARVIN
          Winter up there... Summer down here.
          He aims Marvin's flashlight down there, isn't enchanted with what
          he sees. He turns, takes Marvin's map.

                         MCCLANE(CONT'D)
          I owe you one, Marvin. How about
          a sixpack of malt liquor?

                         MARVIN
          How 'bout a case of Johnny Walker?
          (on McClane's look)
          Hey, I may be homeless, but I ain't
          tasteless.

                         CUT TO:

          111 INT. LONG TERMINAL GALLERY - NIGHT 111

          A big "history of flight" MURAL high on the wall here HALF
          FINISHED, ceilings PARTIALLY OPEN; A WORKER on the scaffold
          and THREE OTHERS on the floor still hammering and. fiddling.
          Barnes and the cops come in. Barnes looks OUT the WINDOWS here

                         AT -

                         

                         

                         

                         

                         46

                         (X

          112 SATELLITE ARRAY - THROUGH GLASS - FAR END OF GALLERY 112
          still covered with FACTORY PLASTIC and TAPE.

          113 BACK TO SCENE 113

                         BARNES
          (into his cellular phone)
          We're in the annex skywalk. I can
          see the dish! I'll call you as soon
          as it's hot for a protocol test.

                         CUT TO:

          114 MCCLANE - IN BOILER ROOM - NIGHT 114
          McClane moves forward - stops immediately. Looks up at Marvin,
          who GRINS.

          114A MCCLANE'SPOV DOWNWARD 114A
          He's HIGH ABOVE the huge boiler room. The only way across is on
          a narrow beam.

          114B BACK TO SCENE 114B
          McClane takes a breath, starts across the beam. There's a scary
          moment at first but he gets quickly confident - a bit too
          ; 7-7 confident midway - he starts to lose his balance and all-but runs
          to the far end, JUMPS to safety.
          As he pulls himself up he HEARS Marvin CLAPPING behind him.
          With a scowl, McClane checks his map, pushes on.

                         CUT TO:

          115 INT. ANNEX CORRIDOR - NIGHT 115

          Barnes and the SWAT cops run forward, get on the SLIDEWALK;
          impatient, they run even while on it.

          116 A WORKER - AT FAR END OF SLIDEWALK 116
          reaches into the open slidewalk CONTROL PANEL-hits a SWITCH.

                         117 THE SLIDEWALK 117
          JERKS to a halt -the( six men n it almost TUMBLING. Oblivious,
          the worker turns his-bwCk on them again.

                         AIRPORT COP
          Hey! Put that back on!
          No reaction. The cop runs forward.

                         CONTINUED

                         

                         

                         

                         

                         47

                         (X)

                         117 CONTINUED - 117

                         FL
          SWAT COP(cont'd)
          HEY! ASSHOLE! What do I look like
          to you?
          The man TURNS. It's REI , one of the ones who killed the
          real painters. He ha a GUN.
          % O R�7lLLY
          A sitting dunk-. --�
          He SHOOTS him.

                         118 WIDER 118
          The other three "workers" turn, and now we SEE that they are
          ,H S ELDQN, HS OCKLEY and MULKEY - Stuart's soldiers all.

          119 BARNES AND OTHER COPS 119
          As bullets RAKE the slidewalk and PING off its walls, they JUMP
          over the railing & take cover-another COP KILLED on the move.

                         120 BARNES 120
          is CUT badly on the arm by flying GLASS - he CRINGES behind a
          dumpster while the three remaining cops EXCHANGE FIRE with the
          four soldiers. BULLETS hit near his metal case. He takes a
          77 deep breath - rescues it!

                         CUT TO:

                         121 MCCLANE 121
          in the TUNNELS, he tosses off his sweater into the darkness.
          Underneath, his shirt is already sweat-stained.
          And then he HEARS the gunfire - it's close! He gets his bearings
          -LUNGES through a wall of STEAM -

                         CUT TO:

          122 THE ANNEX GALLERY 122
          a third airport.cop DIES. His partner KILLS the gunman
          (SJ1oi k1E.y) who took out his friend, and then he's KILLED
          himself. The last SWAT cop breaks cover and gets CUT DOWN.
          Sudden SILENCE.
           Barnes suddenl alizes he's all alone. FOOTSTEPS approach him.
           He looks up. ulke is ri ht above him -

                         123 WIDE 123
          Suddenly a VENTILATION GRATE by Mulke ' head KICKS OUT, sending
          the guy sprawling. McClane JUMP own, FIRING!

                         CONTINUED

                         

                         

                         

                         

                         48

                         123 CONTINUED - 123
          Mu ey has caught the damn thing on reflex, and now he TWITCHES
          bacTcwards, the bullets SPARKING off the grate before they drill
          through him.
          McClane ROLLS, FIRES a 'Reilly across the gallery, who takes (X)
          COVER. Then BULLETS hit all around McClane; he SEES

          124 S ELDON-- ABOVE HIM ON SCAFFOLD 124

           FIRING DOWN -

          125 BACK TO SCENE 125
           McClane FIRES UPWARDS, and then VEERING, he RUNS UNDER the
           SCAFFOLDING - BULLETS PING off the metal behind him as a'Ae l
           tries to nail him from ground level - meanwhile (X)

                         126 UP ABOVE 126
           Shelf tries to SHOOT DOWN and UNDER. (X)

                         127 MCCLANE 127
          deliberately SMASHES into the cross bars he passes, one after
          another, the SMACK of his body into them sounding like
          linebackers in combat -

                         128 SHELDON 128
          AIMS - but then the half of the SCAFFOLDING beneath him GIVES
          WAY. He FALLS, SCREAMING - LANDS with a CRUNCH beside Barnes-

                         129 MCCLANE 129
          has a moment of satisfaction - then

                         MCCLANE
          Oh, fuck

          130 WIDER - SLO MO 130
          He RUNS and DIVES SIDEWAYS as the rest of the scaffolding falls
          towards him, paint and glue and ha f the mural's tile grid coming
          down witWi t !

                         131 MCCLANE 131
          lands, HARD, the plywood boards from the top of the scaffold
          SWEEPING him off his feet - his gun SKITTERS across the linoleum
          towards the far end of the slidewalk - he rolls over and SEES

                         

                         

                         

                         

                         49

                         (X)

          SIX FEET AWAY 132
          he, too, has ducked the falling scaffold, but he's already on his
          feet, already bending to grab his dropped MAC 10 rom the
          slidewalk - bringing it up - AIMING -

          133 BACK TO SCENE 133
           McClane SPINS on the floor and SLAMS the nearest piece of the
           metal scaffold into the OPEN SLIDEWALK ELECTRONICS.
           It SHORTS OUT SPECTACULARLY and THEN -

          133A FAR END OF SLIDEWALK 133A
           it WHIRRS into HIGH GEAR, TREAD SHREDDING -

                         I

          134 BACK TO SCENE 134
          the slidewalk in OVERDRIVE, O'Reilly is FLUNG right over
          McClane's HEAD.

                         135 NEW ANGLE 135
          He SLAMS into the wall at the end of the walkway HEADFIRST.
          There's a sickening CRACK as his neck goes and then he TWITCHES
          and slides to the floor, a SMEAR of blood on the slick wall.

                         77

          136 BACK TO SCENE 136
           McClane takes a long overdue breath. Then he picks up his
          4 pistol, checks the'bodies to make sure there's no surprises,
           and, goes over to Barnes.

                          MCCLANE
          You okay?.

                         BARNES

                         (SHAKILY)
          The antenna array -
          'Both look ,at it - and then

                         137 WIDE 137
          The antenna array outside BLOWS UP, pieces SHATTERING the glass
          window. McClane and Barnes DUCK, but they're too far away to be
          damanged.

                         MCCLANE

                         (SLOWLY STANDING)
          Bait. Something to jerk you off,
          make Lorenzo sacrifice his best men,
          and make you waste time.

                         (MORE)

                         CONTINUED

                         

                         

                         

                         

                         50

                         137 CONTINUED - 137

                          MCCLANE (CONT'D)
          Time you don't have...

                         (LOOKING SKYWARD)
          Time they don't have. (X)

                         CUT TO:

          138 INT. HOLLY'S PLANE - IN FLIGHT 138

          Thornberg, on an inside aisle seat, glances out the window. Sees
          something. Releases his seat belt. And goes over to the glass,
          pressing' .his nose against it like a kid in a candy store.

                         139 HIS POV 139
          LIGHTS in the sky: Other airplanes.

                         140 WIDER 140
          Holly looks at him. She can't help not looking at him; he's
          practically in her lap.

                         HOLLY

                         (DRYLY)
          I think you're closer than fifty
          yards.

                         THORNBERG
          So is that plane... practically.
          Despite herself, she looks out.

                         HOLLY
          Yeah. There's quite a few out there;
          we're in a regular traffic jam.

                         THORNBERG
          There's nothing regular about it.

                         (TURNING)
          I see you're intrigued. That's my
          gift, Mrs. McClane. I make people
          curious.

                         HOLLY
          Don't you mean nauseous?

                         THORNBERG
          The people have a right to know, Mrs.
          McClane. You got in the way of that.

                         HOLLY
          You endangered my children... my
          husband.. and me.

                         (MORE)

                         CONTINUED

                         

                         

                         

                         

                         51

                         140 CONTINUED - 140

                          HOLLY (CONT'D)
          And you didn't do it for anything
          as noble as "the people". The only
          time you see the people is when you're
          climbing over their backs.

                         CUT TO:

          141 INT. ANNEX - NIGHT 141

          McClane is doing a damn decent FIELD DRESSING on Barnes.

                         BARNES
          (into his cellular phone)
          --me? I'll live. But Lorenzo's (X)
          SWAT team is dead... and the antenna
          array is toast. Start looking for (X)
          a new miracle.
          AN EERIE ALIEN TYPE VOICE makes them both jump; McClane raises
          his GUN.

                         142 NEW ANGLE 142
          It's coming from a TRANSCEIVER beside one of the dead men.
          Curious, Barnes slides over, picks it up. LISTENS with McClane
          to the GARBLED, spine-chilling NOISE.

          143 INT. VIRGINIA CHURCH 143


                         GARBER
          I say again, Annex team... report
          in. Annex team, report in.
          He looks at Stuart, concerned.

                         1

          144 INT. ANNEX 144

           Here, Garber no longer sounds human.

                          MCCLANE
           What...?

                          BARNES
          Some kind of scrambler so even if
          we scan their frequency we can't
          listen in. Descramble mode must
          activate on this code panel.

                         (ALMOST ADMIRINGLY)
          These guys are pros.

                         MCCLANE
          So are you. Break the code -

                         CONTINUED

                         

                         

                         

                         

                         52

                         (X)

                         144 CONTINUED - 144

                          BARNES
           Eight numbers - that's 8 X 7 X 6 times

                          -UN -

                          (THINKING)
           40,320 possible combinations.

                          (WEAKLY)
          Next time you kill one of these guys
          - get them to enter the code first.

          145 IN THE VIRGINIA CHURCH - NIGHT 145
          Kahn descends from the choir loft and joins Stuart and Grant.

                         KAHN

                         (TO STUART)
          Sir, we just monitored a call from
          their chief engineer. Our people
          took out their Swat team...
          completely.

                         GARBER
          You were right... they went for the
          antenna array. We're right on
          schedule.

                         STUART
          Except losing our own team wasn't
          part of the plan.
          He comes to a decision. Picks up the phone. Speaks. Voice
          flat, firm, stern. Around and above him, his men hover over the
          improvised screens and terminals.

                         STUART
          Attention, Dulles. You were warned
          not to try and restore your systems.

          146 INT. CAB 146

           They listen, fearful -

                          STUART'S VOICE
          You've wasted lives and time on a
          futile and obvious target. Now you
          have to pay the penalty.

          147 MCCLANE - IN ANNEX - SAME TIME 147
          They HEAR this too, over Barne's cellular tie in to the tower.
          McClane grabs it.

                         MCCLANE
          There's five dead officers here,
          Colonel Stuart - Isn't that penalty
          enough?

                         

                         

                         

                         

                         53

                         (X)

          148 INT. CAB - NIGHT 148

          This interchange is BROADCAST here - Lorenzo SHOUTS into the

                         PHONE-

                         LORENZO
          McClane! Keep out of this! You-
          He stops, seeing the chilling look Trudeau is giving him.

                         149 STUART 149
          has reacted to both the mention of his name and of McClane's.
          His brow furrows. Ah, yes.

                         STUART
          McClave? John McClane? The...
          policeman hero who saved the Nakatomi
          hostages? I read about you in People
          magazine. You seemed out of your
          league on Nightline, though...

                         MCCLANE
          Yeah, Colonel. We were both famous
          for five minutes. Saw you get shit
          canned by Congress on TV. How much
          drug money is Esperanza paying you
          to turn traitor?

                         STUART
          I think Cardinal Richlieu said it
          best: Treason is merely a matter
          of dates. And this country has to
          learn it can't keep cutting the legs
          off men. like General Esperanza -men
          with the guts to stand up to Soviet
          agression.

                         MCCLANE
          And lesson one starts with killing
          policemen? What's lesson two - the
          Neutron bomb?

                         STUART
          I think we can find something in
          between.
          (aside, off mike)
          Give me a flight number - one low
          on fuel.
          Another man hands him a slip of paper. He reads it, switches to
          another mike (or frequency).

                         STUART
          Windsor flight one-four-teen, this
          is Dulles Approach... do you copy?

                         CUT TO:

                         

                         

                         

                         

                         54

                         (X)

          150 IN THE REAL TOWER - THE CAB - NIGHT 150
          Everyone here REACTS to Stuart's voice - and the chilling lie
          he's just told in an affable, good of boy tone that's totally
          different than anything we've heard.

                         BRITISH PILOT
          Approach, this is one-fourteen.
          Where the devil have you been?

                         STUART'S VOICE
          We been right here, old man. But
          our systems didn't come back on line
          until just this second.

          151 MCCLANEAND BARNES - IN ANNEX 151
          both ashen faced -

           MCCLANE STUART'S VOICE
           Christ, helsbringing them You're cleared for approach
          down! Why are they on Runway 29. Report to the
          listening? Tower at the Outer Marker.

                          BRITISH PILOT
           BARNES Roger, Approach, and about
          (heartsick) time: I've got 230 people
           It's our frequency. Why up here flying on petrol
          shouldn't they? fumes.

           TRUDEAU STUART'S VOICE
           The son-of-a-bitch... the (replying to pilot)
           Goddamn son-of-a-bitch- I'll bet. Okay, calibrate
           your altimeter at setting
           MCCLANE'S VOICE two-nine-nine-two. Turning
          What? you over to Tower...now.

                         TRUDEAU
          That's the runway between here and
          the new terminal... he wants to make
          all of.us watch it.

                         153 MCCLANE 153
          CAMERA PUSHES IN on him as he turns and looks out the window.

                         BARNES
          Don't do it... you bastards, don't
          do it..!
          Desperate, McClane runs to the spilled paint, grabs turpentine,
          rags, pieces of scaffolding.

                         BARNES
          What are you doing?

                         CONTINUED

                         

                         

                         

                         

                         55

                         153 CONTINUED - 153

                         MCCLANE

                         (RIPPING FABRIC)
          Whatever the fuck I can, Barnes...
          whatever the fuck I can.

          154 IN THE BRITISH COCKPIT 154

                         PILOT
          (into cabin mike)
          Ladies and Gentlemen, as you've
          probably noticed, we've started our
          descent.

          155 INT. CABIN 155


                         PILOT'S VOICE
          We're sorry about the inconvenience,
          but we'll all be on the ground in
          a few minutes.
          The spent and exhausted people REACT. Some break into APPLAUSE
          and CHEERS of "HIP HIP." But one NICE ENGLISH GRANNY -clearly
          not an experienced air traveler - still looks TENSE. A
          STEWARDESS pauses to pat her shoulder reassuringly.

                         STEWARDESS
          Just like British rail, luv. May
          be.late but we get you there.

          156 MCCLANE-FROM OUTSIDE ANNEX 156
          Barnes holds one end of.a painter's dropcloth; McClane - now
          wearing Barne's coat - DROPS out the broken window to the snow
          below.
          There he's a tiny SHADOW on the white field. He turns, RUNS
          across the. unlit airport... wind whipped SNOW quickly hiding
          him from Barnes.

          157 THE VIRGINIA CHURCH - NIGHT 157

                          STUART
           (off mike to Thompson) (X)
           Activate ILS landing system. But (X)
           Recalibrate sea level. Minus 200
           feet.
          31$p,son - the main TECH here - OBEYS, with an unhealthy GRIN.
           He punches DIALS - a SCREEN LIGHTS UP - Stuart plays with his (X)
           mike button to create static as he "switches" the incoming plane (X)
           from the approach operator to the tower operator - both, of (X)
           course, played by him... (X)

                         

                         

                         

                         

                         56

                         (X)

                         158 BRITISH COCKPIT 158
          The crew REACTS as their ILS lights up. High fives all around.

          159 IN THE TOWER 159
          The SOUND of ENGINES.

                         TRUDEAU
          Oh, God...no...

                         A TECHNICIAN
          Can't we cut in, jam them -

                         TRUDEAU
          Everything's dead.

                         LORENZO

                         (POINTING)
          There's somebody out there -
          LIGHT SIZZLES in the distance, dances. Trudeau fumbles up a pair
          of binoculars. Looks -

                         TRUDEAU
          Christ. It's McClane. He'll get
          himself killed -

          160 MCCLANE - ON THE FIELD 160
          He's made two TORCHES from wads of fabric wound on the scaffold
          pieces - now he uses his LIGHTER to ignite them. He WAVES the
          impromtu FLARES in a crazy pattern - We HEAR the approaching

                         PLANE-

          160A IN THE ANNEX SKYWALK 160A

                         BARNES
          (at the window, watching)
          Come on, see the torch, see the

                         TORCH

          161 IN THE TOWER 161
          Everyone watches the dancing lights and listens to -

                         PILOT'S VOICE
          Dulles, this is Windsor one fourteen.
          Inside the outer marker.

                         STUART'S VOICE
          (doing a different voice

                         THAN BEFORE)
          Roger, Windsor. This is Dulles
          Tower. We have radar contact and
          show you on ILS. You are in the glide
          path and looking good.

                         CONTINUED

                         

                         

                         

                         

                         161 CONTINUED - 161

                         PILOT'S VOICE
          Wait a minute... something down there
          through the snow... looked like a
          light...

          162 STUART - IN VIRGINIA CHURCH 162

                         STUART
          (puzzled, but covering)
          Probably our runway systems coming
          back up. Don't worry about it you're
          coming in on instruments.

                         PILOT
          Roger. Flaps down. Airspeed 100
           knots... 80... 70...

                          NAVIGATOR
           RVR 1/4 mile... . altitude 1000
           feet... 800... Ref plus 20...

          163 MCCLANE -ON THE FIELD 163
          Now he can HEAR the plane's ENGINES and - for a fleeting MOMENT
          he SEES its LIGHTS between gusts of snow-

                         MCCLANE
          No... no, Jesus, Mary, Mother of God,
           no... pull up... pull up...

          164 IN THE TOWER 164
          Helpless, listening, watching - the lane's lights intermittently
          visible here, too, growing closer - dropping -dropping -

                         NAVIGATOR
          600 feet...

                         STUART
          Looking good, Windsor... watch it
          - there's a 30 knot cross wind and
          the runway's icy - atta boy -atta

                         BOY

                         NAVIGATOR
          Four hundred feet - two hund-

          165 IN THE COCKPIT 165
          Suddenly from out of the darkness the crew sees THE RUNWAY, RIGHT

          UNDER THEM -

                         PILOT

          JESUS!

                         CONTINUED

                         

                         

                         

                         

                         58

                         (X)
          'l 165 CONTINUED - 165
          He SLAMS CONTROLS - the plane TILTS -

                         166 OUTSIDE 166
          Engines SCREAMING, the crew brilliant and skilled, but it's not
          enough, not enough - the nose comes up but a wingtip DIPS,
          catches the tarmac - and that's all it takes: The PLANE FLIPS

          OVER, ROLLS -

          166A INSIDE THE TUMBLING PLANE 166A
          LUGGAGE tumbles in the CABIN - PEOPLE SCREAM -

          166B EXT. PLANE - RESUME 166B

          for a split second we HEAR the SCREAMS of men, women, children,
          and then all we HEAR - and SEE - is an EXPLOSION.

          167 RUNWAY - ANOTHER ANGLE
          As the plane breaks up and flaming debris SCATTERS.

                         168 MCCLANE 168
          Behind the plane, watching the fireball roll away from him.
          He gives the scream of an. animal in a trap and falls to his
          knees.

          169 IN THE TOWER 169
          Everyone RECOILS at the explosion, which turns this room BLOOD
          RED with reflected light. CHUNKS OF METAL and PLASTIC boil
          through the sky. Something HITS the GLASS here, starring it and
          smearing it with what we hope is only grease.
          Somewhere SIRENS wail.

                         CUT TO:

                         170 STUART 170
          Silence here, too. His men look at him. Except for ThampSm,
          who clearly enjoyed his part in the above, their faces are
          blank. Maybe they're admiring Stuart's incredible coolness.
          Maybe.

                         STUART

                         (INTO MIKE)
          That concludes our object lesson for
          this evening. If the 747 we
          requested is ready on time and General
          Esperanza lands unmolested, further
          lessons can be avoided.

                         CONTINUED

                         

                         

                         

                         

                         59

                         1170 CONTINUED - 170
          He DISCONNECTS.

                         CUT TO:

          171 THE RUNWAY - LONG DOLLY SHOT - NIGHT 171
          Firemen and medics scramble over a chaos of metal and fabric that
          used to be an airplane. WATER everywhere;- snow melted for a
          hundred yards around from the EXPLOSION.
          Pieces of luggage, fragments of people's lives: Toys, purses,
          books, a woman's bloody shoe.
          McClane weaves through the workers, glazed eyes looking at the
          plane.

                         I

                         RESCUE WORKER
          Tower, this is Rescue Three. No (X)
          survivors. Repeat, no surviv-
          He stops, looking puzzled at McClane, who is torn, bloody.
          McClane.sees the look. Laughs bizzarely.

                         MCCLANE
          Relax, pal, I'm not a survivor. I'm
          just another victim.
          He grabs the rescue worker by the collar.

                         MCCLANE(CONT'D)
          .the last fucking victim he'll
          ever have.

                         CUT TO:

          172 EXT. VAL VERDE MILITARY TRANSPORT--NIGHT • .172


          173 INT. VAL VERDE MILITARY TRANSPORT--NIGHT 173

          Esperanza glances at his watch. Then, with a slight grimace
          and moan, he begins.to massage his chained lower legs with his (X)
          cuffed hands.

                         ESPERANZA
          Dios, los calambres!
          (to his guard)
          Muchacho, si possible a removar eses?
          (with a grin)
          De donde a yo caminar, si?
          The young guard shakes his head. (X)

          YOUNG GUARD (X.)
          Desculpe me, mi General. No tengo (X)
          el permiso. (X)

                         CONTINUED

                         

                         

                         

                         

                         60

                         (X)

          X173 CONTINUED - 173
          Esperanza's eyes flash for a moment - and then he smiles
          paternally, fumbles a cigar out of his breast pocket.

                         ESPERANZA
          Bueno, joven, bueno! Tu eres un
          soldado excelente! Ahora, en vez
          del libertad - dame un fosforo?
          Flattered, the kid lights him up.

                         CUT TO:

          174 INT. VIRGINIA CHURCH - NIGHT 174

          In the silence since the crash, no SOUNDS here, except the faint
          MONITORING of the Tower and aircraft chatter and the muted AUDIO
          of a TV. Garber breaks the silence.

                         GARBER
          Sir. They've done everything we've
          anticpated... so far-
          Stuart smiles tightly at the unvoiced question.

                         STUART
          Don't worry, Captain. If this goes
          into extra innings...

                         (A SHRU )
          Well, we'll just call an our man in
          the other team's locker room.
          And - almost in afterthought - he wipes the flight number from
          the clear glass board. CAMERA PUSHES to the TELEVISION.

          175 ON THE SCREEN 175
          SAM COLEMAN is on CAMERA, "live" supered over her face. She's
          OUTSIDE on the airfield, her NEWS HELICOPTER beside her. In
          the distance behind barricades we see the CRASH SITE.

                         SAM
          --hundreds of people in the terminal
          heard or saw the crash, but still
          there has been no official word from
          authorities. Meanwhile - despite
          the fact that only one runway has
          been closed due to the tragedy,
          several dozen airliners are visible
          from where I stand, endlessly circling
          the field. Rumors abound that somehow
          the accident has interfered with
          normal landing procedures here.

                         (MORE)

                         CONTINUED

                         

                         

                         

                         

                         61

          (� ) 175 CONTINUED - 175

                          SAM (CONT'D)
          Other reports say there were
          difficulties in the tower before the
          crash, and that they may have even
          contributed to it. One thing is
          certain: With weather conditions
          worsening, the problem here and in
          the sky above us will continue to
          grow. This is Samantha Coleman at (X)
          Dulles International Airport.

                         CUT TO:

          176 INT. AIRPORT POLICE OFFICE - NIGHT 176

          PHONES ringing off the. wall; pitiful attempts at damage control.
          A DOCTOR gives Barnes a proper bandage on his cut.
          McClane sits dazed on a bench, eyes looking at nothing - the
          coffee someone gave him ignored. Trudeau.appears.

                         TRUDEAU
          Barnes. We have to warn those planes
          we got a lunatic down here who likes
          to pretend he's the tower. Get up
          to the cab and get us on the air.

                         BARNES
          On the air? With what?

                         TRUDEAU
          With your Goddamn brain!
          Barnes leaves. McClane blinks, coming around to reality. Sees
          Trudeau.

                         MCCLANE
          Trudeau... I... I...

                         TRUDEAU
          You don't have to say anything,
          McClane. We all know how you feel.

                         MCCLANE
          Do you? Do you? I've been a cop
          13 years... Everything from... lost
          kids to hostages... but... all of
          it was... taking care of business...
          taking care of peoplle... until
          tonight. Tonight, everything I did,
          everything I tried...

                         (VOICE TIGHT)
          I never felt so useless.

                         CONTINUED

                         

                         

                         

                         

                         62

                         (X)

                         0176 CONTINUED - 176

                         TRUDEAU
          (feeling his pain)
          Our own SWAT team's gone. We called
          the Government for help. They're
          sending in a special Army unit.
          Tactical Terrorist Team...
          McClane sees something else there in his eyes.

                         MCCLANE
          And...?

                         TRUDEAU
          Your wife's plane...?
          (as McClane tenses)
          They keep broadcasting, even though
          we can't answer. They... they'll
          run out of fuel in 90 minutes.
          CAMERA PUSHES IN on McClane.

                         CUT TO:

          177 INT. HOLLY'S PLANE - NIGHT 177

          Thornberg at the window again. Face suspicious.

                         HOLLY
          Listen, Dick -

                         ("INNOCENTLY")
          That is your name? Dick, if you're
          going-Eo keep getting this close,
          you think you could change
          aftershaves?

                         THORNBERG

                         (DRYLY)
           Anything else?

                          HOLLY
           A stronger mouthwash would be nice.
           He glares at her, moves down the aisle.

                         178 WITH HIM 178
           he goes into the coach section, moves to the row with his NEWS
           CREW. He shakes a sleeping ASSISTANT awake.

                          THORNBERG
           Victor. Victor!

                          VICTOR
          Uh - yeah, what?

                         CONTINUED

                         

                         

                         

                         

                         63
          1 )l78 CONTINUED - 178

                         THORNBERG
          Did you pack the radio mikes from
          the shoot, or put them in your carry
          on?

                         VICTOR
          Are you crazy? I wouldn't let those
          assholes check 'em -

                         THORNBERG
          I love you. Get one of the
          receivers.
          Puzzled, the man pulls his bag from under the seat, gets one out.

                         4 THORNBERG
          Can you tune in the cockpit frequency?
          I want to hear what's going on.

                         VICTOR
          4 Should be on our band...
          He TUNES the mike's receiver, monitoring. with an earplug.

          FROWNS.

                         VICTOR

                         (PUZZLED)
          Nothing.

                         THORNBERG
          You just said it would work -

                         VICTOR
          It is working. But all I get is...

                         (LISTENING AGAIN)
          The weather recording. It's like...
          like the tower isn't there.
          CAMERA TIGHTENS on Thornberg. Wheels start spinning. Leaving,
          he pats Victor's shoulder.

                         THORNBERG
          Stay on it. Tell me if anything
          changes.

                         CUT TO:

          179 EXT. REAR OF TERMINAL - NIGHT 179

           LIGHTS in the SKY cut through the SWIRLING SNOW. Two ARMY (X)
           HELICOPTERS dance through the air towards us, and SET DOWN with a (X)
           ROAR, their BACKWASH creating a Yukon like STORM. (X)

                         CONTINUED

                         

                         

                         

                         

                         64

                         (X)

          !179 CONTINUED - 179
          Waiting here are Trudeau; The JUSTICE DEPARTMENT MEN we saw
          earlier; Lorenzo, worried about his status - and McClane, plain
          worried.
          As the ROTORS keep TURNING, SOLDIERS and the CHOPPER CREWS
          hustle out of the choppers, the wind blowing over them and their
          equipment. A powerfully built MAJOR in his late 40's walks
          forward past the waiting men like someone in a receiving line.
          Everyone SHOUTS over the NOISE.

                         I GRANT
          We're the Triple T's. I'm Major
          Grant.
          i JUSTICE MAN

                         (FORMAL)
          Rollins. Department of Justice.

                         TRUDEAU

                         (POLITE)
          Trudeau. Chief of Air Operations.

                         LORENZO

                         (ASS KISSING)
          Lorenzo. Terminal Police. You want
          something... you got it.

                         MCCLANE

                         (UNIMPRESSED)
          This is it? A dozen men?
          Pause. Grant stops, looks at him.

                         GRANT
          One crisis... one dozen. Who are
          you?

                         MCCLANE
          John McClane.

                         GRANT
          McClane... Oh, yeah, you're the one
          who tried to save that plane tonight.

                         (STEPPING CLOSER)
          You showed some balls out there,
          McClane. Now show some sense and
          let the pros handle things.

                         MCCLANE
          Unfortunately the pros are on the
          other side. Colonel Stuart is one
          of your boys -

                         CONTINUED

                         

                         

                         

                         

                         65

                         (X)

                         )179 CONTINUED - (2) 179

                         GRANT

                         (TIGHTLY)
          Not any more, he's not.
          (to the group)
          Gentlemen, we are here to take down
          Colonel Stuart... and we will take
          him down. You see, I served, with
          him. And I taught him everything
          he knows.

                         MCCLANE

                         (QUIETLY)
          Yeah. But what if he took some night
          courses?

                         4
          Grant REACTS, recovers.

                         GRANT
          cto his men)
          All right, hustle! Command post will
          be in the Airport Police office.
          I want to be tied into the Tower and
          every sysytem that's still working
          in fifteen minutes!

                         SERGEANT
          You heard the man, troop! Move it!
          GEAR and WEAPONS get hustled into the building as the Choppers

          LIFT OFF.

                         MCCLANE
          Trudeau.
          (as he turns)
          Did things just get better... or
          worse?

                         CUT TO:

          180 INT. CAB - NIGHT 180

          Barnes, huddled with the engineers. Desperate now.

                         2ND ENGINEER
          Lights! Big portable lights! We
          set up on the field and -

                         BARNES
          And wait for those lunatics to shoot
          them out? And where do we get those
          "big portable lights"? Borrow them
          from Batman?

                         1ST ENGINEER
          Semaphore! That gets my vote-

                         CONTINUED

                         

                         

                         

                         

                         66

                         (X)

          I80 CONTINUED - 180

                         BARNES
          Your vote? You voted for Dukakis!
          (exasperated, to another

                         MAN)
          What about the airphone idea?

                         3RD ENGINEER
          Eighteen planes up there; only five
          have those phones. We got through
          to three of them, still trying with
          the others.

                         BARNES
          Great, that leaves thirteen accidents
          waiting to happen. Are they still
          bucking headwinds? That's eating
          up most of their fuel.

                         1ST ENGINEER
          Just checked the weather. Headwinds
          slamming right into everybody over
          the outer marker. The planes with
          enough fuel were already shunted to

                         ATLANTA -
          Suddenly Barnes' expression changes.

                         BARNES
          Damn! The Outer Marker!
          (on t eir loo s
          It's a beacon, right? A radio beacon,
          that sends out this "boop-boop-boop"
          so they know they're over it, right?

                         1ST ENGINEER
          So?

                         BARNES
          So, who says that radio signal has
          to be just "boop-boop boop"?

                         2ND ENGINEER

                         (GETTING IT)
          We switch the tower freqency over
          to the one for the beacon -

                         BARNES
          -and we can talk to the planes and
          those bas ar s w o did this will never
          know!
          And as faces brighten for the first time in hours, we

                         CUT TO:

                         

                         

                         

                         

                         67

                         (X)

          ;'1181 INT. AIRPORT POLICE OFFICE - NIGHT 181

          WIDEN from a tubular ELECTRONIC DEVICE with torn out wires at
          both ends as it CLUNKS down on a table.
          The second Triple T SERGEANT wipes grease from his hands, shows
          it to the men here.

                         2ND SERGEANT
          Traced the signal, found it in the
          luggage area. they've been tapped
          into the tower all night.
          McClane and Trudeau look at Lorenzo, who looks away, embarassed.
          The young CORPORAL has set up his radio gear in the
          receptionist's area. Now, he TUNES in that GARBLE.

                         MCCLANE
          That's all we keep hearing. Can
          you do anything with it?

                         CORPORAL TELFORD
          (shaking his head)
          If I had a few hours...

                         MCCLANE
          (checking his watch)
          My wife has less than two.

                         TELFORD

                         (SYMPATHETIC)
          I only got transferred in yesterday
          regular comm man got appendicitis.
          But word is nobody's better at this
          than Major Grant.

                         MCCLANE
          Except Colonel Stuart?
          The kid can't answer. Then Grant appears, the MAN from the
          Justice Department in tow.

                         GRANT
          (as he moves)
          Trudeau. Lorenzo. You brief me
          on that plane he asked for, I'll fill
          you in on my orders. In my office.
          Now.
          "My office" meaning Lorenzo's. Lorenzo glowers at that, but the
          little group moves in that direction - then the JUSTICE GUY puts
          up his hand to block McClane -

          JUSTICE DEPT. GUY
          No civilians.
          Trudeau looks at McClane, sympathetic - and then the door SHUTS.

                         CUT TO:

                         

                         

                         

                         

                         68

                         (X)

          182 INT. HOLLY'S PLANE - COCKPIT 182

          The Navigator suddenly sits upright at his 'phones.

                         2ND OFFICER
          What the fuck -

                         PILOT
          What is it?

                         I

                         2ND OFFICER
          The outer marker beeper? It's not
          beeping. It's talking.
          And saying this he turns up a DIAL -

                         BARNES' VOICE

                         (FROM SPEAKER)
          --tention, all aircraft in Dulles
          landing pattern. Attention. This
          is Chief Engineer Leslie Barnes.
          d I have been authorized to brief you
          in full. At this time this is the
          only channel available to us. Here
          is the situation. Approximately 2
          hours ago -

          183 INT. PLANE - LAVATORY AREA 183

          Between business class and coach. Grinning, Victor pulls
          Thornberg through the curtain, pokes an earplug into Thornberg's
          ear. We TIGHTEN on him.

                         BARNES' VOICE

                         (TINNY)
          -the terrorists have cut all our
          systems and now have control of
          everything except this channel.

                         THORNBERG
          Holy shit - we - we gotta get this
          on tape -
          Victor GRINS. And pulls a MICROCASSETTE RECORDER from his shirt
          pocket. It is ALREADY JACKED INTO THE RECEIVER and TURNING.
          Thornberg all but cackles.

                         BARNES' VOICE
          We believe this channel is secure
          but your own transmissions are not.
          Do not repeat do not attempt to reply
          on your own frequencies to this
          broadcast. These people have already
          caused one crash by impersonating

                         OUR TOWER-

                         THORNBERG
          Jesus!

                         

                         

                         

                         

          �._ 184 HOLLY 184
          looking suspiciously at the little piece of the two men still
          visible.

                         CUT TO:

          185 INT. CAB - SAME TIME 185

          Barnes is using a TELEPHONE which is JURY RIGGED with some
          electronic lines.

                         BARNES(CONT'D)
          (into a TELEPHONE)
          -repeat, do not accept any
          instructions claiming to be from our
          tower unless you hear your own flight
          recorder access code. We will get
          this from your respective airlines
          and use it for confirmation.

          186 INT. HOLLY'S PLANE 186

          where Thornberg's expression is like a man having sex.

                         BARNES VOICE

                         (TINNY)
          Repeat: the terrorists have cut off
          the two systems that can allow you
          to land: The field lights for a
          manual landing and the ILS for an
          instrument one. A special US Army
          unit is already here and preparing
          to take out the terrorists.
           CAMERA TIGHTENS on Thornberg: Orgasm.

                          CUT TO:

          187 INT. DULLES BASEMENT - NIGHT 187

          TIGHT ON A CRACKED MIRROR. Marvin is checking himself out in a
          nice, long topcoat which has unfortunately recently been covered
          with grease and grime (not to mention the bullet holes.)
          CAMERA ADJUSTS as McClane comes in.

                         MARVIN
          Hey, officer. Thought you'd be
          upstairs by now, hanging out with
          the top brass.

                         MCCLANE
          They kind of busted me down to buck
          private.

                         CONTINUED

                         

                         

                         

                         

                         187 CONTINUED - 187

                         MARVIN
          I know that feeling. Interested in
          a nice coat?

                         MCCLANE

                         (RECOGNIZING IT)
          The lining's ripped and it needs
          some invisible mending. Keep it.
          Think you can get me on line upstairs
          again?
          Marvin chuckles, moves over to a table and pulls aside a cloth.
          All electronic stuff there.

                         MARVIN
          I was just a kid, working those
          radios on the B-29's. But I kept
          up. Still read Popular Mechanics.
          These transistor things, I'm on top
          of 'em -
          Marvin realizes that McClane has'a funny expression.

                         MARVIN
          You okay, son?

                         2188 NEW ANGLE 188
          FOCUS CHANGE. McClane STARES at the table... and one of the
          scrambled transceivers - one with a GREEN L.E.D.!

                         CUT TO:

          189 INT. VIRGINIA CHURCH - NIGHT 189

          Stuart is in the pulpit, his men attentive.

                         STUART
          We've pussied out around the world,
          over and over again. We drop the
          Shah, fuck Marcos, throw Noriega
          overboard. You know what they think
          around the globe? The worst thing
          that can happen to you is to have
          America as a friend. And now that
          stain head Gorbachov, he's got some
          nice English suits, and a wife without
          gold teeth, so now the Commies are
          nice? Gentlemen, we are soldiers
          and we do not believe in fairy tales
          sweet though they may seem. Well,
          tonight, the pattern ends. The
          dominos will fall no more and the
          ramparts will remain upri-

                         CONTINUED

                         

                         

                         

                         

                         71

                         189 CONTINUED - 189

           THOMPS ON (X)
          (ca 11 ing--out.3-
          Sir! General Esperanza's plane just
          came on the scope.
          Stuart hurries up into the choir loft, CAMERA ADJUSTING. He
          takes up the phone.

                         STUART
          Attention, Dulles Tower...

          190 INT. CAB 190


                         STUART'S VOICE
          I am lighting up a runway now. Do
          not - repeat, do not - attempt to
          land any planes. Remember, I am
          monitoring you.
          And now, like magic - one DISTANT RUNWAY twinkles on. Almost
          immediately the CHATTER from the sky picks up: QUESTIONS.

          DEMANDS. PLEADING.

                         BARNES
          What do we do?

                         TRUDEAU
          Obey.

          191 INT. ESPERANZA'S PLANE - PULLBACK FROM COCKPIT 191


                         STUART'S VOICE
          Dulles Tower to FM-i. Dulles Tower
          to FM-1...

          VAL VERDE CO-PILOT

                         (IN ENGLISH)
          This is FM-1, Dulles. We read you.
          Over.

                         STUART'S VOICE
          You are to come in on runway fifteen, (X)
          repeat, runway fifteen.
          By now the CAMERA is in the REAR CABIN.
          Just in time to SEE Esperanza STRANGLE the nice young corporal
          with the chain from his handcuffs.
          He lets the body drop, nice and soft so it doesn't make a sound.
          Taking the handcuff key from the body, he frees himself... (X)

                         CUT TO:

                         

                         

                         

                         

          192 INT. BASEMENT 192

          McClane is examining the Scrambler, excited.

                         MCCLANE
          The code... the code's still
          punched... where did you get this?

                         MARVIN
          Came with the coat; over near the
          luggage belts. Looks like one of
          them Japanese radios... can't hold
          a candle to a nice Zenith if you ask
          me... You like it, huh? How about
          twenty dollars?

                         MCCLANE
          How about I let you live?

                         MARVIN
          (handing it over).
          Man knows how to bargain...

                         CUT TO:

          193 INT. ESPERANZA'S PLANE 193


          VAL VERDE PILOT
          Dulles, this is contrary to our
          instructions. We are to land on
          Runway One and be met by
          representitives of your Justice

                         DEPARTMENT -
          He STOPS.
          He's seen Esperanza, who has come into the cockpit holding the
          corporal's pistol..

                         ESPERANZA
          Capitain, please tell the tower you
          will proceed as ordered.

                         PILOT

                         (PAUSES; THEN)
          Roger, Dulles. Proceeding to runway

                         FIFTEEN -
          Suddenly the CO-PILOT LEAPS for Esperanza! Esperanza WHIRLS,
          SHOOTS TWICE - one shot KILLS him - but one SHATTERS

          194 ONE OF THE SIDE WINDOW PANELS 194
          and WIND and SNOW thunder INSIDE like a WALL.

                         

                         

                         

                         

                          73

          ,

          \ )195 INT. CAB - INTERCUT 195

          Everyone has REACTED to the SHOT and NOISE - and now ANOTHER

          SHOT.

          196 INT. ESPERANZA'S PLANE -NIGHT 196

          TILT UP from the PILOT'S BODY on the floor, already flecked with

          SNOW.
          Esperanza is at the controls, trying to SEE through the SWIRLING
          WHIRLWIND. Cursing, he flies with one hand; with the other he
          REACHES UP and FEELS ABOVE the RADIO PANEL for something he
          expects to be there: And it IS - one of the DISTINCTIVE

          SCRAMBLED TRANSCEIVERS.

                         ESPERANZA

                         (INTO IT)
          Eagle Nest, this is Falcon... Mayday.
          Eagle Nest, this is Falcon... Mayday!

          197 INT. CAB 197

          They HEAR the GARBLED ALIEN SOUND -

          198 INT. VIRGINIA CHURCH 198

          Stuart is startled to hear this, but grabs his transceiver

                         7-7

                         STUART
          Go ahead, Falcon -

                         CUT TO:

          199 INT. BASEMENT 199


                         ESPERANZA'S VOICE
          Repeat, I have lost cabin pressure. (X)
          Near zero visibility. I must drop
          out of the storm. I can land but
          I must land now, on the first outgoing
          runway. Repea , I cannot circle
          around to runway fifteen.
          PULLBACK. McClane listens, grinning. He takes the airport map
          from his pocket, hands it the Marvin.

                         MCCLANE
          Marvin... you show me a shortcut to
          runway fifteen and you got yourself
          a liner for that coat.

          200 STUART - IN VIRGINIA CHURCH - INTERCUT 200

                         STUART

                         (OFF MIKE)
          Shit!

                         CONTINUED

                         

                         

                         

                         

                         74

                         (X)

                         200 CONTINUED - 200
          He snaps his fingers. Someone produces a map, points out -

                         STUART
          (nodding, into

                         TRANSCEIVER)
          Roger, Falcon. That would be...
          Eleven West-3: It's a straight run
          from the ocean -

          INT. ESPERANZA'S PLANE - INTERCUT 201

          as he DESCENDS from the eye of the storm the SNOW in the cockpit
          ABATES a bit. Now we can SEE the airfield - and the ILLUMINATED
          RUNWAY which is PERPENDICULAR to the plane.

                         ESPERANZA
          Thank you for telling me, Eagle Nest.
          But if you could show it to me as
          well I would be grateful.
          In the church, Stuart grins at Esperanza's coo]., signals
          Thompson. A switch is THROWN.
          The FIRST RUNWAY goes OFF and a NEW RUNWAY lights up DIRECTLY IN
          FRONT of the plane.

                         ESPERANZA
          Gracias', Amigos.

          202 INT. RUNWAY TUNNEL 202


                         MCCLANE

                         (HEARING THIS)
          Eleven West? What the fuck happened
          to fifteen?
          (fumbling-with the map)
          ;up to my ass in fucking terrorists
          again. I gotta start reading my
          Goddamn horoscope...

          203 INSERT - THE, MAP 203
          His FINGER moves along the runway to the code numbers.

                         MCCLANE'S VOICE
          Eleven W4, W5 - Bingo.

          204 BACK TO SCENE 204
          He turns. CAMERA PUSHES to the whits wall numbers here: "11W3".
          An ARROW indicates "ACCESS GRID."

                         ESPERANZA'S VOICE
          Eagle Nest, do you copy? I'm coming
          down, now.

                         CONTINUED

                         

                         

                         

                         

                         75

          -/204 CONTINUED - 204

                         STUART'S VOICE
          We copy, Falcon. We'll have you in
          five minutes.

                         MCCLANE

                         (TO HIMSELF)
          Not if I can help it, asshole.
           He turns and begins running down the tunnel.

                          CUT TO:

          205 STUART - IN VIRGINIA CHURCH 205
          he tosses the command mike to one of his men, throws a weapon
          over his shoulder and leads Garber, Thompson and Kahn in a rush (X)
          out the rear door.

          206 INT. CAB 206

          REACTIONS as the PREVIOUS lit runway GOES DARK and a DIFFERENT

          ONE LIGHTS UP.

          206 INT. ESPERANZA'S PLANE - NIGHT 206

          Wincing against the blowing snow and wind, the General expertly
          trims his descent. He reaches for a co-pilot's control and
          sweeps the dead man to the floor, bites down on his cigar. The
          plane begins to VIBRATE, but he humms to himself.
          He's the scum of the earth. But one hell of a pilot.

                         CUT TO:

          207 INT. ACCESS TUNNEL 207

          McClane, breathless, reaches the ladder. The grid above him is
           bigger than a doorway, made of heavy industrial steel. (X)

                          RADIO VOICE
           Isee your lights. Wheels down.
          5 seconds ETA.
          McClane checks his pistol clip with a snap.

                         MCCLANE
          Come to poppa, you son-of-a-bitch-
          He flies up the ladder - and BRUISES his shoulder against the
          locked grid.

                         MCCLANE
          Shit!

                         CUT TO:

                         

                         

                         

                         

                         76

                         (X)

                         )208 THE PLANE 208

                         DROPPING -

          209 STUART AND SOLDIERS - IN JEEP ON AIRFIELD 209
          Their BREATH clouding inside the still cold JEEP as it BOUNCES
          along. Garber shines a FLASHLIGHT into the falling snow,
          illuminates a snow-covered runway number sign: "EIGHT WEST."
          The miltary plane ROARS overhead!

                         210 THE TUNNEL 210
          BLAM! BLAM! McClane shoots off the lock apparatus of the grid!
          A RICOCHET PINGS off one of the grids hydraulic hinges and
          McClane winces as metal splinters sail by. Then he begins to
          muscle the heavy grid upwards.

                         211 UP ABOVE 211
          A FIELD of SNOW and ICE. But now a BLACK RECTANGLE EMERGES from
          it - it's the TUNNEL GRID, SNOW falling through it - the damn
          thing must weight over 300 pounds - McClane gets his head and
          shoulders up and out. Looks at -

          212 THE PLANE - HALF A MILE AWAY 212
          about to hit the runway -

          213 BACK TO SCENE 213
          McClane pushes upwards - grunts - when he shifts his grip his
          SKIN RIPS on the cold metal - with a grimace, he pushes his
          rifle out, starts to follow -

                         214 BELOW 214
          the damaged hydraulic hinge suddenly SNAPS with a squish of thick
          fluid.

                         215 ABOVE 215
          the 300 pound grid THUDS down on McClane's back. He GROANS,
          stunned.

                         216 THE PLANE 216
          SCREECHES down on the runway!

          217 THE SCENE - BLAZING FAST INTERCUTS 217
          A) MCCLANE - dazed, trapped, he looks up and SEES -
          B) THE PLANE - 1/4 mile away, coming right towards him-

                         CONTINUED

                         

                         

                         

                         

                         77

                         ) 217 CONTINUED - 217
          C) MCCLANE - struggling - still PINNED to the
          runway like a bug in the Natural History Museum.
          Now we HEAR the ROAR of the. jet's ENGINES -
          D) THE PLANE - 1/8 mile away -
          E) MCCLANE'S FEET - still in the tunnel, they GROPE
          for leverage on the steps -and SLIP! Now they kick
          away at AIR -

          218 MCCLANE AND PLANE - IN ONE SHOT 218
          It's.coming, coming, COMING. Desperate, McClane sees that part
          of the rifle is half under the grid. Now, he puts all his energy
          into levering the rifle against the steel.
          Slowly, slowly, sweat breaking out on his forehead, he levers the
          rifle higher and higher, the rifle in turn levering the grid
          upward, an inch at a time finally, it's high enough for him to
          JAM the rifle's bayonet ring into the grid while the cheek notch
          of the stock perches precariously on the lip of the hole.

          AND THE PLANE IS RIGHT FUCKING THERE.
          McClane DIVES OUT OF THE HOLE.

                         219 NEW ANGLE 219
          McClane rolls away from the wheels, which miss him by inches.
          The PLANE SMACKS into the half-open grid, which goes FLYING, the
          plane hardly dented, the rifle SNAPPING like a toothpick, the
          scrambler CRUNCHING like a bug
          McClave kisses asphalt, WINCES at the SCORCH of jet exhaust five
          feet over his head.

                         220 THE PLANE 220
          Skids roughly to a stop a hundred yards away.
          McCl:ane:gets to his feet, sucks in air - and heads for the plane.

          221 STUART AND SOLDIERS - SAME TIME 221
          Close enough to SEE the plane as it STOPS -

                         STUART

                         (POINTING)
          There -!

          222 INT. PLANE 222

           Esperanza secures the controls, moves to the doorway and spins
           the wheelock. It opens with a HISS and the steps DROP DOWN. (X)

                          CONTINUED

                         

                         

                         

                         

                         78
          r-) 222 CONTINUED - 222

                         ESPERANZA
          (breathing deeply) (X)
          Freedom.

                         MCCLANE'S VOICE
          Not yet.
          McClane's FIST smacks in, knocking Esperanza back from the door.

                         I

                         223 NEW ANGLE 223
          McClane comes up the steps, gun leveled at the startled fugitive.

                         MCCLANE
          Thought you'd pull this off, didn't
          you? I guess you didn't count on
          me being here. Actually, I didn't
          count on me being here.

                         ESPERANZA
          W-who are you?

                         MCCLANE
          Just a cop who's spent half his career
          busting scumbag lowlife dope dealers.
          Looks like it's business as usual.
          Think this will look good on my
          record?
          Suddenly BULLETS PING on the hatch inches from McClane's head.

                         ESPERANZA
          No.
          NcClane 'DIVES and rolls into the cabin - FIRES TWICE out the door
          and then almost on instinct whirls -
          Esperanza's snatched up the rifle from the dead corporal but (X)
          McClane's SHOT hits him in the SHOULDER. With a HOWL, Esperanza
          falls backwards but hangs on to the gun.

                         224 THE HATCHWAY 224
          GARBER and another man are there, rifles UP -

          BACK TO SCENE
          McClane FIRES, blowing a hole in h m so ' THROAT, and as (X)
          Garber's slugs come closer, McClane IVES into the cockpit,
          BULLETS smacking all around him from Garber and Esperanza -

                         

                         

                         

                         

                         79

          THE COCKPIT 225 -
          McClane SLAMS the door behind him, LOCKS IT. BULLETS PING into
          the door, which INDENTS from the hits which don't penetrate it.

          226 OUTSIDE THE PLANE 226
          GARBER helps Esperanza down the steps. Stuart runs to him.

                         STUART
          General!

                         ESPERANZA
          (indicating the wound)
          I'm all right - he said he was a
          ,policeman...

                         AMAZED)
          A policeman -
          PUSH to Stuart. He knows which policeman...

                         GARBER
          He went in the cockpit -

                         STUART
          He's going to hell.

                         227 COCKPIT 227
          Silence. McClane REACTS to the.two dead men sharing the tiny
          space with him... the SNOW and GLASS everywhere... and then he
          crawls to the door, gingerly tries it.
          IT WON'T MOVE. He tries harder.

          228 OTHER SIDE OF DOOR 228
           A RESCUE AXE is across the door like a barricade.

          229 IN THE COCKPIT. 229
           McClane looks worried - and then

                          STUART

                          (SHOUTING)
           McClane! I assume it's you, McClane. (X)

          230 EXT. FRONT OF PLANE - NIGHT 230

          Stuart, Esperanza and two of the others ring the nose of the
          plane, weapons out.
          Garber - the last man - comes up, delayed by locking McClane in
          the cabin.

                         CONTINUED

                         

                         

                         

                         

                         80

                         130 CONTINUED - 230

                          STUART
           You're ite a little soldier. So
           - consider this a mi itary unera
           And he OPENS FIRE. The others instantly join in.

          231 INSIDE THE COCKPIT 231
          McClane DUCKS as FIVE MACHINE GUNS BEGIN TO RIP THE PLACE APART.
          What's left of the glass IMPLODES, and ricochets begin SLAMMING
          around the room - McClane eats floor, but the snaking lines of
          bullets criss cross the cockpit, searching him out -

                         MCCLANE

          HOLY MOTHER OF GOD -
          Glass rakes his forehead, blood misting his vision - He crawls
          N to the door - throws his weight against it - nothing -

                         232 OUTSIDE 232
          Having decimated the front of the plane, Stuart signals and now
          they flank the sides. What's left of the window glass reflects
          their FIRE like a Fourth of July show - Esperanza alone SMILES as
          he shoots -

                         233 MCCLANE 233
          he's HIT in the left hand.

                         234 OUTSIDE 234

                          STUART
           How many grenades we have?

                          GARBER

                          2 EACH -

                          STUART
           Use 'em.
           Pop. Pop pop pop. Each man PULLS TWO PINS - THROWS - Then they
           run for their jeep, carrying the body of their comrade- (X)

          235 IN THE COCKPIT 235
          Clunk-clunk-clunkCLUNK. TEN GRENADES land and BOUNCE here like
          hailstones from hell. They SIZZLE. McClane rolls over and
          suddenly SEES -

          236 LEVER BESIDE PILOT'S SEAT 236
          CAMERA PUSHES to it: "EJECT."

                         

                         

                         

                         

                         81

                         2 3 7 MCCLANE 237
          in one move vaults into the seat, snaps on the belt, grabs the

                         LEVER -

                         238 WIDER 238
          with a WOOSH and a ROAR, the ejection seat ROCKETS UPWARDS, the
          steel vanguard above McClane's head PUNCHING THROUGH what's left
          of the canopy.

                         239 OUTSIDE 239
          the cockpit EXPLODES! It's all so FAST and EYE SEARING we're not
          sure if McClane is clear - but then we SEE

          240 MCCLANE - IN MID AIR 240
          No sound, now, just the WHOOSH of the air going past - the
          ejection seat is TUMBLING -

                         MCCLANE

                         (WEAK)

                         JESUS -
          WHOMP! The 'chute OPENS with violent YANK.

                         MCCLANE

                         (WEAKER)
          Christ!
          He DROPS from frame.

          241 THE BURNING PLANE 241
          At the jeep, Stuart and his men REACT as WATER from MELTING SNOW (X)
          runs past their feet. Garber POINTS to the ghostly image of
          the 'chute, half a mile away -

                         GARBER

                         THERE -
          But Stuart turns at the SOUND of SIRENS.

                         242 NEW ANGLE 242
          The calvary is coming... and it's not his.

          243 BACK TO SCENE 243

                         STUART
          Fall back to the Church! Now! (X)
          Helping the wounded Esperanza, they vanish into the darkness.

                         CUT TO:

                         

                         

                         

                         

                         82

          THE PARACHUTE - ON THE GROUND 244
          BILLOWING as something struggles under it.

                         MCCLANE'S VOICE

                         (MUFFLED)
          Where's - the fucking - door?
          He staggers out from under the yards of silk, COVERED IN SNOW
          -fights the vertigo from his flight - runs off.

                         CUT TO:

          245 INT. HOLLY'S PLANE - NIGHT 245

          The stewardess sticks her head into the cockpit.

                         STEWARDESS
          They're getting pretty squirrely back
          there... in fact, so am I.

                         PILOT
          We're right over Washington... see
          if you can get any TV. That'll settle
          'em down.

                         STEWARDESS
           Works for me. I'll -
           She STOPS. She's SEEN

          246 THE FUEL GAUGE - HER POV 246
           Almost on EMPTY -

          247 BACK TO SCENE 247
           She REACTS. No one says anything. She composes herself... goes
          out.

          248 INT. BUSINESS CLASS 248

           Holly types a line on her computer. Then she REACTS to the (X)
          SOUND of crumpled paper. CAMERA ADJUSTS as she looks at
          Thornberg. He's LISTENING to the TAPE RECORDING with an earplug
          and then drafting his own document.
          He crosses out a line, adds a word - looks at it proudly. (X)

                         THORNBERG
          (sotto, to himself)
          Boy, am I good...

                         HOLLY
          Writing your acceptance speech for
          the video sleaze awards?

                         CONTINUED

                         

                         

                         

                         

                         83

          ..� 248 CONTINUED - 248

                         THORNBERG
          (in odd good humor)
          Try Pulitzer, Mrs. McClane.
          But now that stewardess reaches up and turns on the TV PROJECTOR.
          As the lights DARKEN, Thornberg decides this is perfect cover.
          pretending he's getting a blanket overhead, he slips his credit
          card in one of airphones. Then he moves down the aisle, phone
          I inside his jacket.

                         STEWARDESS
          Sir, please - we may be landing at
          any moment -the seat belt light is-

                         THORNBERG
          I- I'm going to be sick -
          He makes a croaking noise to sell it, stumbles into the lavatory.

                         THORNBERG
          (dials, then:)
          This is Richard Thornberg. Put me
          through to the News Director.

                         (LISTENING)
          I know he's getting ready for the
          broadcast, that's why I want him!
          Now get him or start typing your
          resume!

                         CUT TO:

          249 INT. AIR POLICE OFFICE 249

          The DOCTOR patches McClane's right hand; one of the soldiers
          gives McClane a cigarette.

                         MCCLANE
          Esperanza's down... but he's hurt.
          I killed one more man... that's six (X)
          they've lost all together.

                         LORENZO

                         (UNIMPRESSED)
          Maybe if we knew how many they had
          to start with, we could get excited.
          But if they got fifty guys, it's a
          little early to break out the (X)
          champagne.

                         GRANT
          McClane, we don't need a loose cannon
          on this deck. What if they decide
          to crash another plane in retaliation
          for your little stunt?

                         CONTINUED

                         

                         

                         

                         

                         84

                         (X)

                         249 CONTINUED - 249
          r,1

                         MCCLANE

                         (INDICATING BARNES)
          Last I heard, they can't do that
          again. And if I grabbed Esperanza,
          the situation would be over.

                         GRANT
          Maybe they're more creative than you

                         I
          think! McClane, we're here to jerk
          off that cocksucker until he tries
          to take off - period! This time
          you're the wrong guy in the wrong
          place at the wrong time!
          McClane stands, glares at the two officers. He flips away the
          cigarette, walks away, pissed.

                         MCCLANE
          .The story of my life.
          But the enlisted men seem sympathetic. And so does

                         250 BARNES 250
          Who now pulls McClane aside.

                         BARNES
          McClane. You said they showed up
          there right away?

                         MCCLANE
          Stuart's guys? Yeah. That means
          they're on the field or close -

                         BARNES
          I think I know where.
          Interested, McClane'follows Barnes around the corner.

          251 WHEN THEY'RE ALONE 251
          Barnes unfolds some.plot plans.

                         BARNES
          These are the old plans when the
          longer runways went in... that's
          twelve years ago. And it looks like
          they did some modifications on site...
          moved Tracon, phone, ILS - all the
          underground stuff -so they could
          handle drainage. If I'm right, all
          of it would run along the edge of
          the airport property - and go right
          past this neighborhood.

                         CONTINUED

                         

                         

                         

                         

                         85

                         (X)

          �. - 251 CONTINUED - 251

                         MCCLANE
          So - if they know this too - they
          could be sitting around the fireplace
          and hanging their fucking stockings
          in one of these houses?

                         BARNES
          Maybe. Yeah. Well, seventy eighty
          per cent, five percent either way-

                         MCCLANE
          Are you sure or not?

                         BARNES
          I was sure about tying into the
          antenna array. And... and I got
          five officers killed.

                         MCCLANE
          You didn't do that - you did your

                         JOB -

                         BARNES
          I had a choice and I made it. But
          those cops didn't have a choice, and
          neither do those soldiers now. I'm
          an engineer, McClane. It's supposed
          to a wires and circuits... iron
          and steel. Not flesh and blood.
          Not lives. If...if I'm wrong again...
          I don't want anyone else to get
          orders that could get them killed.

                         MCCLANE
          (after a moment)
          Then how would you feel about a
          volunteer?

                         CUT TO:

          252 INT. HOLLY'S PLANE - NIGHT 252

          The passengers' patience has begun to frazzle. The Older Woman
          beside Holly is no exception.

                         OLDER WOMAN
          Somebody ought to get their ass kicked
          for this mess, that's for sure.

                         HOLLY
          It's hard to blame anyone for the

                         WEATHER -

                         CONTINUED

                         

                         

                         

                         

                         86

                         252 CONTINUED - 252

                         OLDER WOMAN
          Yeah? What about that porker Willard
          Scott?

                         (TO HERSELF)
          I shoulda taken the bus. At least
          they can pull over for food and gas.

                         253 HOLLY 253
          I REACTS to what the woman's said. As the Stewardess PASSES, Holly
          signals her - RISES halfway to meet her.

          STEWARDESS.
          Yes?

                         HOLLY
          I... was just wondering. Our flight
          was only supposed to.be 5 1/2 hours- (X)

                         (ALMOST SHEEPISH)
          Do we have enough fuel for all this
          endless circling?
          Pause. The Stewardess" face eases into an official smile.

                         STEWARDESS
          Oh, of course we do. They anticipate
          little proems like this.
          She moves away. We TIGHTEN on Holly. She's chilled by the lie.
          Worried, she TURNS... looks at the AirPhone. X)

                         CUT TO:

          254 TIGHT ON MCCLANE'S WAIST 254
          HIS BEEPER SHOWS as he CLIMBS something - we WIDEN.
          He and Barnes are outside a HOUSE that backs up to the Airport.
          Both peer over the fence. It's a modest DC suburban tract job.
          People TRIM a TREE. It could be Norman Rockwell.

                         MCCLANE
          Hell. These people are hanging their
          Goddamn stockings.
          They DROP down into the snow, CRUNCH to the next fence. Look

                         AT

                         255 SECOND HOUSE 255
          No tree: People having dinner, a MENORAH burning on the
          windowsill.

                         MCCLANE
          - and these people aren't.

                         

                         

                         

                         

                         87

                         (X)
          r.� 55A NEW ANGLE 255A
          They've come to a corner; now they go back to the street, spread
          Barne's map out on the hood of Barne's still humming CAR. Far
          behind them, we SEE the illuminated airport TOWER, centered in
          the dark blot that should be brightly active runways.
          Barnes reaches inside his jacket, fumbles in his jammed plastic
          pocket thingie for a little flashlight. He checks the map.

                         BARNES
          Four more possibles. Three houses...
          and a church.
          They cross the intersection on foot, walk over a lawn. It's
          further to the next place; more prosperous yard. Suddenly
          McClane puts up his hand -Barnes stops - both look at -

          257 NEXT PROPERTY - THE CHURCH 257
          Baker is walking, almost casually, around the rear of the house.

          258 BACK TO SCENE 258
          McClane and Barnes huddle, whisper.

                         MCCLANE
          Could be a sentry -

                         BARNES
          And he could just be out for a walk-

                         MCCLANE
          Then why is he going over his own
          footprints?

          259 THEIR POV - CLOSER 259
          Indeed, gar's steady progress has made a trench around the
          church property, and the distinctive PRINT of his galoshes now
          makes double images.

          260 BACK TO SCENE 260

                         MCCLANE

                         (WHISPER)
          Stay here. Get ready to call the
          marines.

                         BARNES

                         (WHISPER)
          I thought they were Army.

                         MCCLANE

                         (WHISPER)
          Who the fuck cares, just be ready.

                         CONTINUED

                         

                         

                         

                         

                         88

                         260 CONTINUED - 260
          Saying this, McClane takes his own gun from his holster and puts
          it in the back of his trousers... then moves off.
          Barnes takes out a cellular phone, lurks under a tree.

                         261 MCCLANE 261
          moves from shadow to shadow and tree to tree like an Indian
          I stalking a settler... closer... closer...

                          CUT TO:

          262 INT. HOLLY'S PLANE - NIGHT 262

           Holly drops her credit card in the airphone. Starts to DIAL.

                          CUT TO:

                         263 MCCLANE 263
           Baker is only a yard away. Closer - closer - and then -BEEP! (X)

                         264 BAKER 264
           Instantly whips his head around, the hidden MAC 10 coming up, but
           E he winter outerwear slows him. McClane. DIVES on him. (X)

                         265 BARNES 265
          REACTS, begins to dial the phone. REACTS to

          266 INSERT - PHONE 266
          The dial reads NO SVC.

          267 BACK TO SCENE 267

                         BARNES

          SHIT!
          He raises the antenna, realizes he's got to move - runs towards
          the street.

          268 MCCLANE AND BAKER 268
           CRASH into the fence with a CRACK. McClane ha Baker gun (X)
           hand and SLAMS it down on the fence n -again
           -blood wells - the gun DROPS ker OW", taking McClane away (X)
           from the weapon -They trade bru unches -

                         

                         

                         

                         

                         89

          269 INT. THE VIRGINIA CHURCH - NIGHT 269

           Through the rear window here we SEE the fence GIVE, and bend (X)
          AGAIN, but the SOUND is muffled by the WIND and the GLASS.

                         CUT TO:

          270 INT. AIRPORT POLICE OFFICE - NIGHT 270

          Lorenzo WRITES as Grant REACTS -

                         LORENZO
          You're where - you crazy idiot, why'
          didn't you -

          271 BARNES - INTERCUT 271
          He's down the block, STANDING on a snow covered car -

                         BARNES
          Just get here,.this is it, move your
          fat ass will ya -?
          Grant signals his Sergeant and then it's like D-Day as ALL the
          SOLDIERS and some COPS hustle out -

                         CUT TO:

          272 MCCLANE AND BAKER-.' 272
           halfway to their feet, the snow bloody between them s3ke (X)
           KARATE KICKS McClane back into a tree, dazing him---Baker jumps (X)
          in, RIPS McClane's coat open and -
          GRABS for the holster! As his hand comes up empty, McClane
          GRINS, head butts him!

                         CUT TO:

          273 VIRGINIA STREET -'NEAR AIRPORT -NIGHT 273
          AIRPORT POLICE CARS and the ARMY TRUCK SKID AROUND A CORNER-

          274 INT. ARMY TRUCK 274

          Soldiers on the benches - Grant standing, rocking like a commuter
          - Telford, only one unarmed, still MONITORING the radio -

                         GRANT
          Gentlemen. We have... a situation
          here...
          CLICK CLICK SNAP. AMMO CLIPS are broken out - all PIGGYBACKED
          like combat hardened troops do it, two banana clips taped
          together with blue tape. (X)

                         CUT TO:

                         

                         

                         

                         

                         90

                         (X)

          275 MCCLANE AND BAKER 275

                         CD
          Baker yanks a combat knife from his boot and'DIVES on McClane
          -bo i HIT the wall of the church's detached garage -SNOW and
          ICE fall from the roof, but both men ignore it -
          McClane's LEFT hand can't force awa� akers RIGHT hand and
          the KNIFE.
          The bastard is STRONG and now his left jumps out and pins
          McClane's RIGHT so-it can't help-- The knife creeps towards
          McClane's throat! McClane is fucke -and then his desperate eyes
          look at something nearby -
          We FOCUS CHANGE - it's a big ICICLE -with his last strength
          McClane.BREAKS out of Baker's grip, grabs the icicle-
          -and STABS it RIGHT in Baker's EYE!

                         276 REVERSE ANGLE 276
          Baker SCREAMS and falls back - McClane ROLLS with him and with
          both hands PRESSES the ICICLE HOME SIX MORE INCHES right into the
          son-of-a-bitch's brain.
          The body TWITCHES, DIES. McClane falls against the garage as the
          snow turns CRIMSON all around. Catches his BREATH... and then
          REACTS to a WHISTLE.

                         277 BARNES 277
          is in the street. Moving in a crouch, McClave heads towards him.
          Barnes points to

          278 ' E 6B' RS 7 278
           their truck far down the street, they move forward silently and
           expertly, shadows starting to surround the church.

          279 BACK TO SCENE 279
           Grant and Lorenzo come over.

                          LORENZO
          McClane, what the hell do you think
          you're doing, playing John Wayne?
          How'd you like to spend the rest of
          the night in a cell -

                         GRANT

                         LORENZO -

                         (PAUSE)
          shut the fuck up and do something
          useful. Seal off the street.

                         LORENZO
          You can't talk to me like that -

                         CONTINUED

                         

                         

                         

                         

                         91

                         279 CONTINUED - 279

                         GRANT
          Oh, no, Carmine?

                         (TURNING)
          Sergeant! Get this... bureaucrat
          out of Mr. McClane's face.

                         SERGEANT
          With pleasure, sir!
          I And Lorenzo is HUSTLED away. McClane takes out a cigarette.

                         MCCLANE
          I was wrong. You're not an asshole.

                         GRANT
          i (lighting him up)
          No, you were right. I'm just your-
          kind of asshole.

                         2ND SERGEANT

                         (COMING UP)
          Flanking the church now, sir. (X)

                         GRANT
          Close up the back, then we go in.
          Fire only on my order.
          McClane and Barnes watch as the soldiers start to close the net.

                         280 A SOLDIER 280
          moves forward on the lawn into a PRONE FIRING POSITION - and then
          his GUN MUZZLE hits a TRIP WIRE in the SNOW!

          281 IN THE CHURCH 281
          Stuart's men REACT to and ALARM - instantly go to ASSIGNED JOBS!
          Some grab weapons ,others.SMASHthe EQUIPMENT HERE! Esperanza,
          bandaged, throws a coat on, grabs a pistol!

                         282 OUTSIDE 282

                         MCCLANE

          SHIT!
          Everyone DIVES for COVER as a STAINED GLASS WINDOW is BROKEN and (X)
          a rifle POKES out. GUNFIRE lights up the street, REFLECTS on
          the snow!

          283 -INSIDE THE HOUSE 283

                         STUART
          Gentlemen, you know what to do- (X)

                         CONTINUED

                         

                         

                         

                         

                         92

                         (X)
          j-� 283 CONTINUED - 283
          Looks all around - all change their ammo clips, putting ones with
          blue adhesive tape into their weapons --and then they RETREAT
          Tr-om the front windows. We PAN them out the REAR and to the
          FENCE behind the church - which they SMASH THROUGH.

                         284 MCCLANE 284
          taking cover behind a parked car, he HEARS the SOUND of

          SPLINTERING WOOD -

                         MCCLANE
          Fuck...

                         (TURNING)
          They're. pulling out!
          And he's on his feet, FIRING his pistol, here outclassed by the
           assault rifles -

                         285 WIDER 285
          Grant signals his men - they FOLLOW McClane, RUSH the church
          -there is NO MORE FIRE from the.front - some of the men SMASH
          through the doors, others run alongside the church -

          286 BEHIND THE CHURCH - CRANE SHOT 286
          Stuart leads his men and Esperanza towards what LOOKS like BUSHES
          about 30.yards behind it but as M .L].,ar and 8r reach them
          and grab at FABRIC we REALIZE it is a SNOW CAMOUFLAGED TARPULIN.

          287 REAR OF CHURCH 287
          McClane is first here - DUCKS as GUNFIRE erupts ahead of him
          -then he FIRES at the MUZZLE BLASTS in the darkness - then REACTS
          to the SOUND of GASOLINE MOTORS -

                         288 HIGH ANGLE 288
          as Stuart and Esperanza and the remaining men ESCAPE on hidden
          SNOWMOBILES ! McClane FIRES twice at the

                         289 REAR: SNOWMOBILE 289
          Garber is on it - McClane's BULLETS rip through his CHEST -as he
          falls off it SPINS OUT, ROLLS OVER.

          290 INSIDE THE VIRGINIA CHURCH 290
          The Airport police crash in behind the tailing soldiers. Barnes
          looks at the smoking ruins.

                         BARNES

                         (SEEING IT)
          That equipment! It could land our

                         PLANES -

                         CONTINUED

                         

                         

                         

                         

                         93

                         (X)

                         ( 290 CONTINUED - 290

                         GRANT

                         (BLOCKING HIM)
          Don't touch it! There were trip wires
          outside - they.could have -

                         SERGEANT
          They did.
          CAMERA RAKES to the sergeant, who is by a BLINKING BOOBY TRAP
          hidden under a panel.

                         A SOLDIER
          Got one here, too - looks like C-4
          and the mother fucker is primed-

                         GRANT
          Evacuate! Now!

          290A EXT. CHURCH - NIGHT 290A

           the soldiers and Barnes rush out, bowling over Lorenzo just as
           he's heading in. As all dive into the snow -

          290B WIDER 290B
           The church EXPLODES, stained glass windows givingthedestruction,
          an eerie BEAUTY as they SHATTER -

          290C BACK TO SCENE 2-90C
          As debris RAINS DOWN, everyone struggles to their feet. Lorenzo
          spits out snow, looks around.

                         LORENZO
          Hey. Where the fuck is McClane?

                         CUT TO:

          291 MCCLANE - PULLBACK 291
          He's riding the snowmobile that cracked u , carrying the dead
          man's assault rifle like the Duke on a horse!

                         292 WIDE SHOT 292
          He's coming up on the rear of the other vehicles!

          293 BACK TO SCENE 293
          Big BOUNCE over a mogul. As the 'mobile settles, McClane pulls
          the rifle forward. He STEADIES IT alongside the WINDSHIELD of
          the snowmobile.

                         

                         

                         

                         

                         94

          X1294 THROUGH HIS SIGHTS - 294
          We see STUART'S HEAD.

          295 BACK TO SCENE 295

                         MCCLANE
          This is for flight one fourteen,
          mother fucker -
          He FIRES.

                         296 STUART 296
          UNTOUCHED. But he LOOKS back at the SOUND of SHOTS. HAND
          SIGNALS his flanking riders.

                         297 WIDER 297
           Two of them PEEL OFF; Kan, riding double with ESPERANZA; VAX&, (X)
           riding alone. Burke SWTTfCHES AMMO CLIPS to a red taped clip.

                         298 MCCLANE 298

                          MCCLANE
           Shit!
           He AIMS at the APPROACHING SNOWMOBILES -FIRES -

          299 KAH 299.
           Again, UNTOUCHED! Now as he SWEEPS past Esperanza FIRES his

                          PISTOL -

          300 BACK TO SCENE 300
           McClane DUCKS as bullets BLOW OUT his WINDSHIELD. He SWERVES
           -and there's the other snowmobile that turned. Burke FIRES (X)
           on FULL AUTO

                         301 NEW ANGLE 301
          RIDDLED with BULLETS, McClane's snowmobile CAREENS OUT of CONTROL
          - goes'AIRBORNE - McClane TUMBLES from the seat - and the 'mobile
          EXPLODES against a runway WIND REGISTER.

                         302 WITH STUART 302
          He looks back at the mini-FIREBALL, signals his men to regroup.
          All DWINDLE in the landscape of the empty airfield.

                         CUT TO:

                         

                         

                         

                         

                         95

                         303 SNOW 303
           which MOVES. McClane's HAND comes into view. Face bloodied by
           glass, jacket ragged, body bruised, he should be looking for (X)
           a doctor.
          Instead, he's pawing through the snow - looking for the assault
          rifle. And finds it, the stock broken. McClane pulls off the
          clip. He peels off a round into his hand, then another.
          There's PAPER WADS where brass should meet lead. (X)

                         MCCLANE
          Blanks... blanks?
          .Paleing, he rummages in the snow, finds one of the soldier's
          backpacks. More clips inside. First clip has live ammo. Second
          clip - blanks CAMERA PUSHES in on McClane until he looks at
          the red/blue tape and -makes the connection.

                         MCCLANE
          Oh, my God...
          He gets. to his feet and RUNS.

          304 INT. CAB - NIGHT 304


                         STUART'S VOICE

                         (FROM RADIO)
          Attention, tower. This is Colonel
          Stuart. Is our plane prepared?

                         CUT TO:

          305 EXT. AIRPORT - INTERCUT - NIGHT 305

          Stuart and his men, on foot near the halted snowmobiles. LIGHT
          in the distance; hangers; the terminal.

                         TRUDEAU
          It is. It's in hanger eleven. (X)
          That's the most remote building we've
          got.
          Stuart looks at his map, then the hanger mentioned; not far.

                         STUART
          We're on our way. If there's another
          attempt to stop us like the one-you
          just made, I will fire several Stinger
          missiles into your terminal. Do I
          make myself clear?

                         TRUDEAU
          Quite clear.

                         STUART
          Good. Please have a ground crew there
          to confirm the plane's condition. (X)

                         

                         

                         

                         

                         96

                         (X)

          306 EXT. VIRGINIA CHURCH 306

          The Army trucks are parked by the still intact church GARAGE. In
          the B.G. FIRE FIGHTERS spray down the smoking RUIN; ice FORMING
          and sparkling everywhere.
          Grant uses the field radio Telford has set up in the back of the
          truck.

                         GRANT

                         (INTO RADIO)
          You're quite capable of confirming
          it yourself, Colonel. Please don't
          ask us to gift wrap potential hostages
          for you.

                         STUART
          Major Grant, .isn't it?

                          GRANT
          If you remember me, Colonel, you'll
          remember I know the drill as well
          as you do. Check out your own fucking
          plane.

                         (DISCONNECTING)
          We move out in five minutes. Body
          armor for everyone - full metal
          jackets. We will take them in the
          hanger or we will shoot that fucking
          plane out of the sky. Lorenzo, take
          your men back to the airport and seal
          off every exit in case anyone tries
          to break out on the ground.

                         LORENZO

                         (MOVING)
          .You got it.

                         CUT TO:

          307 INT. TV STUDIO - NIGHT 307

          A chaotic meeting of news staffers - the PRODUCER waves for
          quiet,, hovers over a speaker phone.

                         PRODUCER
          Dick, this is nuts - first, you do
          Siamese Twin drag queens, not hard
          news; and second, every station in
          I town has people out at the airport
          and none of them has heard even a
          whisper of this shit you're running

                         DOWN-

                         

                         

                         

                         

                         97

          ' 08 INT. AIRPLANE LAVATORY - INTERCUT 308


                         THORNBERG
          Well, none of them is me. You want
          proof? Try this -
          And he PLAYS the MICROCASSETTE. We HEAR Barnes' earlier

          TRANSMISSION.
          In the TV station, STUNNED reaction.

                         PRODUCER

                         JESUS -

                         THORNBERG
          I want you to go live, now. Key me
          in from the files, a publicity shot,
          whatever, Connie's got one. And a
          map, steal one from weather-

                         PRODUCER
          We're on it, we're on it -

                         (GIVING ORDERS)
          We're cutting in in five minutes!
          Tell the affiliates if they want in
          they got three minutes to shout!

                         THORNBERG
          Network, here we come...

                         CUT TO:

          309 EXT. VIRGINIA STREET - NIGHT 309

          Local POLICE keep curious NEIGHBORS behind barricades while
          SOLDIERS get ready at the trucks.

          310 INSIDE AN ARMY TRUCK - NIGHT 310

                         SOLDIER
          --"I was in Grenada", he says!
          All LAUGH'- the bitter laughter of the battlefield.

                         GRANT
          Grenada - five minutes of firefight
          five weeks of surfing!
          LAUGHTER, which SUBSIDES a bit as Grant looks at his watch..
          a look DUPLICATED by the others.

                         TELFORD
          (oblivious to this,

                         WISTFUL)
          I wish I was with you guys for that.

                         CONTINUED

                         

                         

                         

                         

                         98

                         310 CONTINUED - 310

                         GRANT
          So do we, kid.

                         TELFORD

                         (TOUCHED)
          Really, sir?

                         GRANT
          Yeah. Then we wouldn't have to do
          this.
          And in a flash, Grant DRAWS his combat knife and SLITS the kid's
          throat!
          Telford FLOPS BACK off the bench. Grant is already digging into (X)
          the cargo pocket of his trousers and he comes out with a
          transceiver - the same distinctive scrambled transceiver used by
          Stuarts men!

                         GRANT

                         (INTO TRANSCEIVER)
          Eagle Nest, this is Hatchling. On
          schedule and in place.

          311 INT. HANGER - NIGHT 311

          Stuart holds his transceiver while he looks up at the plane
          prepared for him. One of his men comes out, gives him the thumbs
          up sign.

                         STUART

                         (INTO TRANSCEIVER)
          Roger, Hatchling. We are secure here.
          You have a green light. Repeat, green
          light.

                         CUT TO:

                         312 MARVIN 312
           whistling, stacking dolls, shoes, more flotsom from the Airport
           sea he's scavenged. At a SOUND he TURNS - (X)

                         313 MCCLANE 313
           shivering, battered, trying to come down a ladder. He FALLS the (X)
           rest of the way.

                          CUT TO:

          314 THE SOLDIERS - ON VIRGINIA STREET 314
           close the back of the truck - they DRIVE AWAY. Lorenzo, getting (X)
           in his car, gives them a thumbs up.

                         CONTINUED

                         

                         

                         

                         

                         99

                          1 514 CONTINUED - 314
          t.Y, J
           Grant, grinning, returns it. (X)

           315 TIGHT ON A TV SET 315
          A SPORTS EVENT is SUPERCEDED by a SPECIAL BULLETIN CARD.
          GROANS. MOANS. CAMERA PANS and we SEE we're in a BAR in the

          AIRPORT TERMINAL.

                         NEWSCASTER
          (coming on screen)
          This is a special bulletin from WZDC (X)
          News. There was a plane crash earlier
          this evening at Dulles, where other
          aircraft continue to circle, with
          no explanation from Airport or FAA
          officials. Now, with an exclusive
          KLA report, here is Dick Thornberg,
          reporting from the skies over
          Washington.
          That gets all the sports fan's attention. Now a SUPER of I
          TH rnberg's FACE comes up in the corner of the newsroom.

                         THORNBERG'S VOICE

                         (FILTERED)
          Tom., I'm one of the thousand people
          who has been circling our Nation's
          capitol, under the assumption that
          whatever problem was going on far
          below me was a normal one. But the
          truth is far from normal - the truth
          is terrifying.

                         CUT TO:

          316 INT. TERMINAL - NIGHT 316

           People walking along.- and then jumping out of the way of- (X)

          317 A TERMINAL EMERGENCY CART - SIREN AND LIGHT WAILING 317
           MARVIN drives, happy as hell; beside him, in the seat usually (X)
          reserved for the sick or elderly, is McClane, slowly coming back
          to normal from his ordeal.

          318 THORNBERG -IN LAVATORY 318

                         THORNBERG

                         INTO PHONE)
          This is a recording of a conversation
          between Dulles tower and the captive
          aircraft overhead.
          With a smug smile, Thornberg plays the tape again.

                         

                         

                         

                         

                         100

                         (X)

          319 IN THE AIRPORT BAR 319
          The people LISTEN as the tape of Barne's earlier broadcast PLAYS.

                         CUT TO:

          320 AIRPORT POLICE OFFICE - NIGHT 320
          The golf cart SKIDS to a halt at the receptionist's desk.
          Lorenzo comes thundering out of his office.

                         LORENZO
          McClane! Are you out of your fucking
          mind-?

                         T

                         MARVIN
          This man's been through serious shit,

                         I
          give him a break-

                         LORENZO
          Who the fuck are you?

                         MARVIN
          (pointing to his

                         NAMETAQ)
          Marvin, the janitor. Don't need that.
          custodial enginner crap -

                         MCCLANE

                         (GRABBING LORENZO)
          Grant - the Terrorist Team -where
          are they?

                         LORENZO
          They left to shoot those bastards
          out of the sky -

                         MCCLANE
          They're not gonna do that -they're
          gonna get on the same Goddamn plane
          and leave with him! Before the Army
          canned him, Stuart must have loaded
          that unit with his own guys -

                         LORENZO
          But - that firefight at the house-

                         MCCLANE
          A side show to jerk us off - buy them

                         TIME -

                         LORENZO
          You're completely around the fucking
          bend, McClane. And you know what
          else?
          (reaching for handcuffs)
          You're under arrest -
          McClane steps back - raises the assault rifle - FIRES.

                         

                         

                         

                         

                         101

                         (X)
          j �� 3 21 NEW ANGLE 321
          Lorenzo STAGGERS back in shock - and then realizes he's

          UNSCATHED.

                         LORENZO
          Wha - how -

                         MCCLANE
          (showing the clip)
          These are the bullets they used out
          there tonight.

                         LORENZO
          Holy shit -

                         (INTO PHONE)
          This is Chief Lorenzo. I want every
          officer recalled now and assembled
          in body armor with full weaponry in
          the motor pool in five minutes! It's
          time to kick ass!
          He slams the phone down - checks his pistol ammo and rushes out
          the door - a startled - and appreciative - McClane beside him!

                         CUT TO:

          322 INT. AIRPORT BAR - NIGHT 322

          As the TAPE RECORDING CONCLUDES, the patrons are in SHOCK.
          Already several begin to RUN OUT.
          CAMERA PANS AWAY from the terminal bar towards a GIFT SHOP.
          There, all the PORTABLE TV's ON DISPLAY are BROADCASTING the SAME
          THING. A CUSTOMER hearing this DROPS a CRYSTAL VASE.

                         THORNBERG'S VOICE
          (as tape ENDS)
          Since then this reporter has learned
          that the terrorists have virtual
          control of the entire airport - a
          fact the authorities have suppressed.
          The terrorists promise more bloodshed
          unless their demands are met; and
          now that special Army Commandoes have
          arrived at the airport, the liklihood
          of a full scale and deadly battle
          is dangerously close -

          323 INT. TERMINAL - MAIN CORRIDOR 323

           Suddenly full of SCREAMING PEOPLE.

          324 FRONT OF TERMINAL 324
           A mass EXODUS. People FIGHT for CABS.

                          CUT TO:

                         

                         

                         

                         

                         102

                         (X)
          �t 325 INT. CAB 325
          They're watching this here, too.

                         TRUDEAU
          Christ - that fucking asshole -

          326 EXT. REAR OF TERMINAL - AIRPORT POLICE PARKING LOT 326

          McClane is in Lorenzo's police car; a DOZEN other police cars
          full of officers behind, lights SPINNING. Lorenzo leans out the
          window like Ward Bond on Wagon Train.

                         LORENZO

                         (SHOUTING)
          Converge on Hanger 11 on all four
          sides! When the city blues get here
          with their backup, they can pick up
          the pieces! MOVE OUT!
          (aside to McClane)
          McClane, you meet my nephew?
          The other guy in the car is the asshole who towed the car. As
          McClane REACTS, the caravan ROARS FORWARD, SIRENS WAILING -

          326A NEW ANGLE 326A
          And Lorenzo's car SMASHES into a TAXI. CAMERA CRANES UP and we
          SEE that the police cars have run smack into the PANIC in the
          front of the airport.

                         LORENZO
          (shouting, barking orders)
          Move that piece of shit! Henderson,
          get some crowd control! Goddamn it,
          clear the area-!
           McClane jumps out of the car - looks around and SEES -

                         327 327
          thru OMITTED thru

                         328 328

          329 SAM - IN THE TERMINAL 329
          watching the scene, trying to get it on video.

                         CUT TO:

          330 INT. HOLLY'S AIRPLANE 330

          WIDEN from the TV SCREEN. Thornberg's broadcast is here, too!
          A WOMAN SCREAMS. A MAN tries to get out of his seat and a
          STEWARD forces him back.

                         

                         

                         

                         

                         103

                         ` I 3 31 HOLLY 331

                         HOLLY
          (as it sinks in) (X)
          My God...
          Then something else sinks in; she looks at the empty airphone
          cradle on the wall gets quickly out of her seat - in mid-stride
          she STOPS - takes her seatmate's PURSE. Then, she sidesteps
          some panicked people, goes to the kitchen area.
          And finds one of the special keys for the lavatories.

          332 THORNBERG - IN LAVATORY 332

                         THORNBERG

                         (INTO PHONE)
          And so it continues: A standoff
          between terrorists and authorities
          with the lives of thousands at stake.
          But at least this time, in this place,
          the truth, at least, is not among
          the hostages because Richard (X)
          Thornberc put his life and his talent (X)
          on the line for humanity and country. (X)
          Behind him, Holly silently opens the lavatory door.

                         THORNBERG(CONT'D)
          .,and if this should be my final

                         BROADCAST -
          WHAM. She ZAPS him with the old lady's TASER. He TWITCHES -
          DROPS! She picks up the phone. (X)

                         HOLLY
          Amen to that, asshole.
          (into phone, sweetly)
          We're sorry, but Mr. Thornberg is
          experiencing electrical problems.
          We now resume our regular programming.

                         CUT TO:

          333 EXT. AIRPORT - NIGHT 333

          McClane, Sam and the cameraman, forcing their way through the
          crowd; Sam ABSORBING what McClane's told her.

                         SAM
          Jesus. You give me this story, I'll
          have your baby.

                         MCCLANE
          Thanks; but I'm looking for a
          different kind of ride.
          And he POINTS to -

                         

                         

                         

                         

                          104

                          (X)

                         '-1

          334 HER NEWS HELICOPTER 334
           across the tarmac -

                          CUT TO:

                         335 335
          thru OMITTE thru

                         336 336

          336A INT% HANGER 336A
           Stuart and his' a n d, at doors, on high
           scaffolds to look out at the landing field hidden in the driving
           snow. Stuart looks at his watch.

          336B1 EXT. HANGER 336B

           here on watch. Something GLEAMS in the distance. He
           SPS into his radio -

                          BURKE

                          (COCKING O )
           Truck lights!'' =_ '-�

          336C INSIDE THE HANGER 336C
           Weapons are COCKED - soldier's muscles coil -

                         STUART
          (into scrambled radio)
          Hatchling, report in. What is your
          position?

                         GRANT'S VOICE
          My position is I'm gonna get my ass
          reamed out by the best Goddamn soldier
          on the planet 'cause I'm two minutes
          late.
          Stuart GRINS, signals for the hanger door to be opened.

          336D WIDER 336D
          The big door RUMBLES UPWARDS. There's the truck, headlights
          now ILLUMINATING the waiting plane.
          Grant jumps down from the cab, gets a warm greeting from Stuart
          in the headlight beams. Grant salutes him, then pivots to salute
          Esperanza.

                         GRANT
          Congratulations on your escape, sir.

                         ESPERANZA
          Thank you, Major. Save them until
          we are all safe - and excuse a left
          handed salute, eh?

                         CONTINUED

                         

                         

                         

                         

                         105

                         (X)

          36D CONTINUED - 336D

                         STUART
          (as the men gather)
          My congratulations, gentlemen. You've
          won a victory for democracy... my
          pride and admiration... and a kick
          ass vacation! Get on board!
          With a CHEER, they run up the stairs 'to the plane.

                          CUT TO:

          INT. NEWS CHOPPER 337

          WHOOSH! UP and OFF THE GROUND like an elevator. McClane REACTS.

                         PILOT
          Too rough for you, cowboy?

                         MCCLANE
          I - don't like flying.

                          SAM
          Then what are you doing here?

                         MCCLANE
          I like losing worse.

                         (POINTING)
          That way.

                         CUT TO:

          338 EXT. 747 HANGER - NIGHT 338

          The abandoned truck's lights still GLARE into the CAMERA -and
          then something SHADOWS THEM -

          338A WIDER - LOW ANGLE 338A
          The 747 TAXIS out of the hanger, rolls towards the runway.

          338E INSIDE - FIRST CLASS 338B
          the soldiers take seats, cocky smiles on their faces -

                         CUT TO:

          339 INT. CHOPPER - NIGHT 339

          McClane and the others fly along, LISTENING to the CONTINUING
          APIRPLANE AND TOWER TRAFFIC - which is growing PANICKY.

                         PILOT

                         (POINTING)
          Hanger Eleven -

                         MCCLANE
          Shit! They're leaving!

                         

                         

                         

                         

                         106

                         (X)
          (f l340 THE HANGER - BELOW THEM - NIGHT 340
           The plane. in a slow wide turn, the hanger empty, light spilling
          into the snow -

          341 BACK TO SCENE 341
           Sam taps the Cameraman, who's already on the case.

                          PILOT
           Now what?

                          MCCLANE
          Get 'em to stop! Hover low, block
          their path!

                         PILOT
          Play chicken with a 200 ton plane?
          Hey, I'm crazy, but not that crazy-

                         RADIO
          Dulles, this is Western one-forty-

                         MCCLANE

                         (CHILLED)

                         HOLLY -

                         RADIO
          Request clearance on first available
          runway. Repeat, request emergency

                         CLEARANCE -

                         TRUDEAU'S VOICE
          Negative, one fourteen, our.situation
          is unchanged.

                         RADIO
          Well, mine just changed, Goddamn it!
          We're down to fumes and we have to
          .land! And in five minutes we're
          coming in one way or another!

                         MCCLANE
          (to the pilot)
          That's my wife's plane, Goddamnit-!

                         PILOT
          I'm still not getting in front of
          it!
          Pause - McClane furious - but the pilot equally tough.

                         MCCLANE

                         (FINALLY)
          Okay - then how about on top of it?

                         CONTINUED I

                         

                         

                         

                         

                         107
          i 341 CONTINUED - 341
           And as both men realize they've cut a dangerous deal and'start to
           smile, we (X)

                         CUT TO:

          390 INT. HOLLY'S PLANE - COCKPIT 390

          The pilot and co-pilot look at each other as their fuel gauge
          BEEPS and FLASHES YELLOW.

                         PILOT

                         (INTO INTERCOM)
          Ladies and Gentlemen. Our situation
          is critical.

          391 INT. CABIN 391

          The cabin attendants are lugging Thornberg's unconscious body
          down the aisle. They strap him in as Holly and the others
          listen, chilled to -

                         PILOT'S'VOICE
          We have no choice but to attempt an
          emergency landing. Please put on
          your safety belts and assume crash
          positions as instucted by the cabin
          attendants.

                          392 392
          \ 'ihru OMITTED thru

                          398 398

                          399 THE PLANE 399
           engines GLOWING through the snow - (X)

           399A THE CHOPPER 399A
           TURNING, DROPPING - the door SLIDES OPEN - McClane SLIPS out (X)
           -takes a deep breath - and MOVES to the SKID! (X)

                          400 OMITTED 400

                         CUT TO:

          401 EXT. HOLLY'S PLANE - NIGHT 401

          Diving, diving -

          402 HOLLY - IN HER PLANE 402

                         HOLLY

                         (BARELY AUDIBLE)
          -yea, though I walk through the valley
          of death -

                         CONTINUED

                         

                         

                         

                         

                         108

                         (X)

                         402 CONTINUED - 402
          To her amazement, she HEARS another voice mumbling tearfully.
          It's Thornburg, half-conscious.

                         TRUDEAU
          I-I didn't mean any harm - I just
          wanted ratings - I had to do it it
          was sweeps week -

                         CUT TO:

          403 EXT. RUNWAY - NIGHT 403

          the 747 taxis along - CAMERA PANS BACK and DISCOVERS the
          CHOPPER, McClane on its skid, as it DROPS LOWER, MATCHES SPEED
          with the pane.

          404 INT. COCKPIT 404

          Esperanza, Stuart, Grant. Starting to feel like what they think
          they are: Heroes.

                         GRANT
          (knocking some off)
          I've had enough fucking snow for a
          lifetime.

                         STUART
          They don't get much of it in the
          tropics.

                         CUT TO:

          405 EXT. 767 - MOVING 405

          McClane - sitting on the skid - now DROPS to a HANDHOLD as the
          skids come treacherously close to the PLANE WING. McClane's FEET
          grope for the wing surface - but the two aircraft - one still
          earthbound - MOVE APART. Pause. McClave TRIES AGAIN -MAKES

          IT!

                         406 THE 'CHOPPER 406
          it PEELS AWAY, vanishes in the snowstorm.

                         407 MCCLANE 407
          panting, he wedges himself against an engine pod - and starts to
          take off his jacket!

          408 INT. COCKPIT 408

          Esperanza lights a cigar - and then FROWNS.

                         ESPERANZA

                         MIERDE -

                         CONTINUED

                         

                         

                         

                         

                         109

                         (X)

                         108 CONTINUED - 408

                          STUART
           What?

                          ESPERANZA
           The aerilons! Something's wrong -we
           can't take off -
          He looks out the window - and REACTS to -

          409 WING AERILON - HIS POV 409
          Hydraulics GROANING because McClane is JAMMING his JACKET into
          the groove where it hinges!

          410 BACK TO SCENE 410
          They can't fucking believe this. Then -

                         GRANT

                         (ALREADY MOVING)
          i I'll do him.

                         STUART
          (following, to Esperanza)
          You just get us in the air, General.
          You're the only one who can do it.

          411 INT. CABIN - NIGHT 411


                         I
          Stuart and Grant cock their weapons, move to the door. Grant
          opens it.

          412 EXT. WING 412

          , Grant stands there, WIND whipping him. NO MCCLANE - just the
          jacket, FLAPPING in the groaning aerilon.
          Grant starts out - WHAM! McClane APPEARS from behind the door,
          TRIPS him! Grant's gun BOUNCES off the wing, falls to the
          ground rushing past below!

                         413 STUART 413
          in the doorway, tries to AIM - but

          414 THE TWO MEN - STRUGGLING ON THE WING 414
          are INDISTINGUISHABLE in the driving snow.

          415 MCCLANE AND GRANT 415
          Each HOLDING ON TO THE WING with one hand - FIGHTING with the
          other - Grant POUNDS AWAY on McClane's face - but McClane
          doesn't HIT BACK - he just GRINS like a maniac - PUSHES Grant
          -pushes -pushes -

                         CONTINUED

                         

                         

                         

                         

                         110

                         (X)
          r"1 415 CONTINUED - 415 -

                         GRANT
          (through his teeth, as

                         THEY STRUGGLE)
          Too - bad - McClane -
          The SOUND of metal SLIDING - a KNIFE APPEARS in Grant's hand-

                         GRANT(CONT'D)

                         (RAISING KNIFE)
          I really liked you -

                         416 GRANT 416
          too late, he realizes he's over the front edge of the wing! He
          screams and FALLS -

                         417 NEW ANGLE 417
          RIGHT INTO THE ENGINE INTAKE! There's an awful GRINDING SOUND -A
          SCREAM - McClane winces as RED SNOW SPLATTERS HIM -

          418 REAR OF ENGINE 418
           it could be hamburger pouring out - but before we can dwell on
           it, the engine pod BLOWS!

          18A MCCLANE - ON THE WING 418A
           wipes red snow from his arm.

                         3

                         MCCLANE
          I like you better dead.

          419 IN THE COCKPIT 419
          a "FIRE" indicator goes on. Esperanza hits "EXTINGUISHER",
          handles it - increases power to the other engines.

                         420 STUART 420
           trying-to SEE - finally - a GLIMPSE of what has to be McClane
           -with a savage grin, Stuart takes off his rifle - discards the
           bulky coat - knife in hand, he steps out.

                         421 MCCLANE 421
           moves hand over hand to a trailing section of the wing. Looks
           over and down at

          422 FUEL PORT - UPSIDE DOWN - HIS POV 422

                         

                         

                         

                         

          -423 BACK TO SCENE 423
          He reaches for it. Too far. Stretches. Gets it - fucker is
          TIGHT. Wincing, he TURNS it a bit - then LOOKS up just in TIME
          to SEE STUART, knife whizzing DOWN -

                         424 NEW ANGLE 424
          McClane ROLLS, but the knife CATCHES his SHOULDER. In pain, he
          manances to KICK Stuart's KNEE - Stuart FALLS, almost goes over
          the wing - McClane goes back to work on the fuel port -it,TURNS
          another 1/4 turn -and then he has to abandon it to deal with
          another CHARGE from Stuart.

                         425 ESPERANZA 425
          he TURNS the PLANE. Now he's ON THE RUNWAY PROPER.

          426 MCCLANE AND STUART 426
          FIGHTING for the knife. With.all his strength, McClane JAMS
          Stuart's knife hand the aerilon crack! The next WIGGLE of the
          metal CRUNCHES both hand and knife! Stuart SCREAMS and loosens
          his grip on McClane, who PUNCHES him away, goes back to work
          on the fuel port!
          But he's hardly at it when Stuart RECOVERS, and, mangled hand
          held clawlike, KICKS McClane's INJURED SHOULDER -KICKS AGAIN
          -blood on Stuart's shoe - McClane is being worked over the edge
          of the wing! He CATCHES at the last moment - now he IGNORES
          Stuart's BLOWS, because -

          427 UNDER THE WING 427
          .McClane feels for the fuel port - turn, turn - it OPENS! Fuel
          SPIGOTS DOWN - McClane feels the wetness on his hand -

                         428 THE RUNWAY 428
          a RIBBON of FUEL twists behind the moving plane, slick and light

                         REFLECTING -

          429 BACK TO SCENE 429
          Stuart STOMPS on McClane's HANDS on the wing - CRUNCH -STOMPS
          again - McClane SMILES -and then Stuart KICKS HIM OFF THE WING!

                         430 MCCLANE 430
          DROPS 20 FEET, SLAMS into the snow at the edge of the runway,
          bounces like litter thrown from a moving car - the big REAR TIRE
          almost rolls over him -

                         431 STUART 431
          with a victorious SHOUT he YANKS the coat from the aerilon,
          throws it away - heads for the door -

                         

                         

                         

                         

                         112

                         432 ESPERANZA 432
           sees this, smiles -

          433 MCCLANE -AT EDGE OF RUNWAY 433
          crawls to a painful sitting position. Face impassive, he watches
          the jet move away... and - incongrous as it seems - he lights a
          cigarette, looks off at - (X)

                         I

          434 THE LINE OF JET FUEL 434
          running along the runway for 1/4 mile now -

                         435 MCCLANE 435
           battered like a car wreck victim, now he looks up into the dark
           sky trying to find the SOUND OF JET ENGINES. Then he SEES -

          436 LIGHTS OF HOLLY'S PLANE - HIS POV 436
           careening down in a desperate fight, against gravity -

          437 BACK TO SCENE 437
          1 McClave takes a LONG PULL on the cigarette until the tip is

          RED-HOT.

          438 STUART - IN THE OPEN PLANE DOORWAY 438
          about to close it, he looks back and for the first time SEES

          439 THE JET FUEL - HIS POV 439
          winding endlessly down the runway -

                         440 MCCLANE 440

                          MCCLANE
           Hey, Colonel: Happy Fucking New Year.
           And he THROWS THE CIGARETTE INTO THE FUEL.

                         441 STUART 441
           SEES the flame RACING TOWARDS HIM - turns to SHOUT to Esperanza -

                          STUART

           NO! NO! TAKE OFF! TAKE OFF NOW! (X)

          442 ESPERANZA - IN COCKPIT 442
           RESPONDS to the cry, GUNS IT - (X)

          442A THE PLANE 442A
           STARTS TO-RISE - the wheels go into the AIR - (X)

                         

                         

                         

                         

                         113

                         (X)
          j j42B REAR OF PLANE 442B
          But as the craft rises, so does the FLAME, climbing the fuel
          ribbon RIGHT INTO THE SKY and TO THE NEAREST ENGINE which

          EXPLODES!

          442C ESPERANZA 442C
          TURNS at the EXPLOSION in time for a WALL OF FIRE that SHOOTS UP
          THE WING and through the cockpit FLOOR, and then he's ON FIRE

                         AND THEN

                         443 STUART 443
           is BLOWN TO LITTLE PIECES as a FIREBALL BLOWS RIGHT OUT THE DOOR.,
           taking all the remaining soldiers with it and then

          444 THE PLANE - LONG SHOT 444
           It EXPLODES ITSELF, WINGS and TAIL and BODY going nine different
           directions!

                         445 OMITTED 445

                         446 MCCLANE 446
          DIVES for the ground as the explosion ROLLS TOWARDS HIM.

          447 IN THE CAB 4471
          they watch the FIREBALL in the distance -

                         448 MCCLANE 448
          Gets to his knees, and LOOKS at the huge conflagration.

                         MCCLANE
          (towards the sky)
          Honey... there's your landing lights.

                         CUT TO:

          449 INT. HOLLY'S PLANE - COCKPIT 449

          Blackness and driven SNOW outside - and then - in an almost
          cinematic FADE - through the glass we SEE the BURNING WRECKAGE
          -and, more importantly - the LINE OF FIRE RUNNING CLEAN AND
          STRAIGHT for almost a mile -
          A line right along the runway.

                         CO-PILOT
          Look - !
          The pilot grabs controls desperately, trims the plane -

                         

                         

                         

                         

                         114

          450 IN THE CABIN - 450
           The passengers REACT as they level a bit -

                          CUT TO:

          451 EXT. HER PLANE 451

          It descends, a bit erratic, but now it's ALONGSIDE the line of
          fire, coming in from the wrong end of the runway, and then the
          wheels BOUNCE, once, twice, and then a tire BLOWS but the pilots (X)
          HOLD IT as it SWERVES and finally SKIDS TO A HALT, turning onto (X)
          the grassy field.
          Already we HEAR RESCUE SIRENS.

          452 IN THE CAB 452

                         BARNES
          (listening to headset)
          One forty is down! They used the
          fire to see -

                         (LAUGHING)
          I -they used the fucking fire to see!

                         AN ENGINEER
          They can all do that - let's tell

                         'EM -

                         TRUDEAU
          They already know. Listen.
          And sure enough, there it is - the SOUND of ENGINES -

          453 EXT. SKY - LANDING PATTERN 453

          And now the lights come down from the sky, in a neat and patient
          row, the closest-filling the screen, the others dwindling down to
          the size of stars.

          454 MCCLANE - ON THE RUNWAY 454
          Stumbles along, maybe thinking he's dead or dreaming... IGNORING
          the giant PLANE LANDING BESIDE HIM, ignoring the FLAMES beyond
          that - His concentration is totally on Holly's plane -now
          another giant PLANE SKIDS down behind him - it's an assembly
          line, like B-29's coming home from war - then he SEES what he's
          praying for - breaks into a RUN -

                         MCCLANE
          Holly - HOLLY -HOLLY!

          455 HOLLY - IN PLANE DOOR 455
          HEARS this just as she goes down the RESCUE CHUTE, ushed by
          Stewardess controlling their own tears -

                         

                         

                         

                         

                         115

                         (X)

          ('.. 456 MCCLANE 456
          CATCHES her at the bottom like a child - CARRIES HER AWAY.

          457 THORNBERG - ON THE GROUND 457
          groggy, he raises his hands in supplication to the stewardess.
          She steps over him, puts her high heels back on - walks off.

                         CUT TO:

          458 THE NEWS 'CHOPPER 458
          It CRUNCHES DOWN on the frozen earth near the runway. Sam and
          her cameraman hit the ground running. SEE -

          459 MCCLANE AND HOLLY 459
          embracing - and then she's nursing his wounds, hearing his story-

          460 BACK TO SCENE 460
          The cameraman brings up his lens.

                         CAMERAMAN
          God, that's beautiful -

                         SAM
          Yeah. It sure is.
          And she yanks out his power cord, watches it dreamily.

          461 THE AIRFIELD - NIGHT 461
          as rolling stairs are put up to the planes and the passengers
          pour down the steps into arms of friends, families, loved ones.

          461A MCCLANE 461A
          Sets Holly down, kisses her - then both TURN at a HONK.
          Marvin is there in an airport cart. He looks at the chaos.

                         MARVIN
          Damned if I'm cleaning up this mess.
          McClane and Holly get in the cart. Marvin drives them away,
          light BLINKING... and we PULLBACK until McClane and Holly are
          just part of the crowd.

                         THE END




Die Hard 2



Writers :   Doug Richardson  Steven E. de Souza
Genres :   Action  Thriller


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