Die Hard Part 1 Lyrics

20th Century Fox Lyrics


"DIE HARD"


Screenplay

by


Jeb Stuart


Revisions by


Steven E. DeSouza




based on the novel

Nothing Lasts Forever

by

Roderick Thorp



WITH REVISION #1 WITH REVISION #5
November 2, 1987 November 5, 1987

WITH REVISION #2 WITH REVISION #6
November 4, 1987 November 17, 1987

WITH REVISION #3 WITH REVISION #7
November 4, 1987 November 23, 1987
WITH REVISION #4 WITH REVISION #8
November 5, 1987 November 30, 1987

SECOND REVISED DRAFT
October 2, 1987


A Gordon Company/Silver Pictures Production

------------------------------------------------------------------------------

"DIE HARD"

FADE IN

1 405 FREEWAY - LOS ANGELES - EARLY EVENING 1

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

2 INT. 747 - PA**ENGERS - SAME 2

The usual moment just after landing when you let out that sigh
of relief that you've made it in one piece. As the plane TAXIS
to its gate, they stir, gather personal belongings.
3 ON JOHN MCCLANE 3

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

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

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

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

SALESMAN

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

MCCLANE
Fists with your toes.

SALESMAN
Maybe it's not a fist when it's your
toes...I mean like this...work out
that time zone tension.

Better'n a cup of coffee and a hot
shower for the old jet lag. I know
it sounds crazy. Trust me. I've
been doing it for nine years.

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

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

Peeking out from his jacket.

3-B BACK TO SCENE 3-B

Recognizing the look, McClane smiles rea**uringly.

MCCLANE
It's okay.

I'm a cop.

Trust me. I've been doing it for
eleven.

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

3-C A PRETTY STEWARDESS 3-C

She bumps noses with the bear, gives a look.

STEWARDESS

Maybe you should have bought her a
ticket.

MCCLANE
Her?

He scrutinizes the nether regions of the bear, shrugs.

MCCLANE
She doesn't complain.

STEWARDESS

Neither would I.

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

CUT TO:

4 INT. THE NAKATOMI BUILDING - EVENING 4

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

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

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

ELLIS
What about dinner?

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

She turns into:

5 HER OFFICE 5

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

ELLIS

I was thinking more of roaring
fireplaces...mulled wine and a nice
brie...

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

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

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

GINNY

Thanks Ms. Gennaro.

Do you think the baby can handle
a little sip?

HOLLY

Ginny, that baby's ready to tend bar.

ELLIS

How about tomorrow night?

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

INTERCUT:

6 INT. NICE HOUSE IN SANTA MONICA 6

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

LUCY
McClane residence. Lucy McClane
speaking.

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

HOLLY

Hello, Lucy McClane. This is your
mother.

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

LUCY
Mommy! When are you coming home?!

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

LUCY
Will you come say 'good night'?

HOLLY
Don't I always, you goose?

Now put Paulina on the line, and
no searching the house for presents!

LUCY

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

JOHN, JR.

Yeah! Daddy! Daddy! Daddy!

And a Captain Power!

HOLLY

Well, we'll see what Santa and Mommy
can do. Goose, put Paulina on, okay?

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

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

HOLLY
I'm working on it.

Did Mr. McClane call? *

PAULINA
No ma'am.

Holly hides a trace of disappointment.

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

PAULINA

Yes, Mrs. Holly. I do that already. *

Holly's smile comes through again.

7 INT. LAX - EVENING 7

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

MCCLANE

California.

He looks around the terminal at:

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

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

7-B BACK TO SCENE 7-B

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

MCCLANE
I'm John McClane.

ARGYLE

Argyle. I'm your limo driver. Hey,
nice bag.

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

MCCLANE
Argyle. Don't you take this stuff?

ARGYLE

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

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

CUT TO:

8 WITH THE LIMO - DUSK 8

TILT UP from the Lincoln emblem on the car.

Both Argyle and McClane are in the front seat.

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

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

ARGYLE
If your friend is hot to trot...I
know a couple of mama bears.

...Or is he married?

MCCLANE
Married.

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

ARGYLE
The girl was off today. Hey, I
didn't expect you to sit up front.

So, your lady live out here?

MCCLANE
The past six months.

ARGYLE

Meanwhile, you still live in
New York?

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

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

MCCLANE

It's okay, it's okay.

ARGYLE

So, you divorced of what?

McClane gives up.

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

ARGYLE
But meant her moving here.

MCCLANE
Closer to Japan. You're fast.

ARGYLE
So, why didn't you come?

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

ARGYLE

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

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

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

ARGYLE

Mind if I play some tunes?

A hard RAP SONG blasts from the speakers.

MCCLANE
How 'bout some Christmas music?

ARGYLE
That is Christmas music.

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

9 HIS P.O.V. 9

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

10- OUT OUT 10-
11 11

11-A THE LIMO - CENTURY CITY 11-A

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

12 EXT. NAKATOMI BUILDING - NIGHT 12

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

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

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

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

MCCLANE
I'll find someplace.

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

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

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

MCCLANE

You're all right, Argyle.

ARGYLE
Just remember that when you sign
for the tip.

They're paying for it, so don't be
shy.

McClane grins, heads inside.

13 INT. NAKATOMI LOBBY - NIGHT 13

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

MCCLANE
Holly McClane?

The Guard points to a prominent touch screen computer console.

GUARD
Just type it in there.

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

13-A SCREEN - CLOSER 13-A

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

13-B MCCLANE 13-B

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

13-C THE SCREEN 13-C

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

13-D BACK TO SCENE 13-D

MCCLANE
Cute toy.

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

MCCLANE
Thirtieth floor... *

GUARD

Take the express elevator and get
off at the noise.

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

13-E ANOTHER SECURITY GUARD 13-E

Patrolling a different area.

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

which are cleverly worked into the decor of the lobby.

13-G BACK TO SCENE 13-G

McClane reacts with bored professionalism, NODS to the guard.

MCCLANE
Lots of hardware...

The guard shrugs. McClane gets in the elevator.

14 INT. ELEVATOR - NIGHT 14

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

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

15 30TH FLOOR - SAME 15

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

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

MCCLANE

California...

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

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

15-A TAKAGI 15-A

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

MCCLANE
Excuse me, I'm looking for --

TAKAGI
Holly Gennero?

MCCLANE
Yeah. How'd you know?

TAKAGI
I've spent half my life on airplanes, *
I can recognize someone who just
got off one.

I'm Joe Takagi, Mr. McClane. I have
...something to do with this company.

MCCLANE
So I've heard.

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

TAKAGI
Holly went to the Vault room to FAX
some doc*ments...she should be back
any...

16 HOLLY'S OFFICE 16

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

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

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

TAKAGI

Ellis, this is John McClane...

Holly's policeman?

Ellis is in charge of International
Acquisitions.

MCCLANE

That explains the recent deal with
Bolivia.

Ellis REACTS, runs a checking finger under his nose.

MCCLANE

Relax, Ellis. I'm off duty.

TAKAGI

Can I get you anything? Food? Cake?
Watered down champagne punch?

MCCLANE

I'm fine.

You throw quite a party. I didn't
know they had Christmas in Japan.

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

McClane laughs. He likes this guy.

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

The door OPENS. Holly comes inside.

HOLLY
All set, Joe. The contracts went
over the wire, and --

John...!

16-A MCCLANE AND HOLLY 16-A

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

HOLLY

I was hoping you made that flight.

JOHN

I was hoping you were hoping that.

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

TAKAGI

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

MCCLANE
Yeah. I remember our first date.

ELLIS
Show him the watch.

As she hesitates:

ELLIS
Go on, show him. What're you,
embarra**ed?

A little token of our appreciation
for all her work.

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

MCCLANE
Nice, but one of us is three hours
out of sync. I think it's me.

Is there a place I can wash up?

HOLLY

Sure. Follow me.

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

CUT TO:

17 EXT. NAKATOMI - NIGHT 17

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

18 INT. PARKING GARAGE 18

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

19 INT. LIMO - SAME 19

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

20 INT. PARKING GARAGE - SAME 20

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

21 INT. ELLIS' OFFICE - NIGHT 21

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

MCCLANE

Son-of-a-b*t*h. It works.

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

HOLLY
What are you doing?

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

HOLLY
That's okay...

... I have an eye on his private
bathroom.

McClane's face shows his relief .
*

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

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

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

HOLLY
Oh...Where does he live?

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

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

McClane fixes her with a look.

MCCLANE
They would, huh?

HOLLY

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

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

HOLLY
...I've missed you. *

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

HOLLY

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

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

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

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

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

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

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

I needed that, John.

I deserved that.

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

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

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

MCCLANE

Hi. John Gennero here. I'm the
sensitive and supportive man of the
eighties.

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

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

MCCLANE
Don't I always?

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

MCCLANE

Schmuck!

22- OUT OUT 22-
23 23

24 INT. BUILDING LOBBY - SAME TIME 24

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

MAN #1

...So, Kareem rebounds -- listen,
this is a great play -- feeds Worthy
on the break, over to A.C., to Magic,
back to Worthy in the lane and --

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

THEO

Boom...two points.

The killer moves behind the
desk, stepping over a small pool of blood from the Guard.

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

THEO
We're in.

25 ON THE SCREEN 25

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

26 INT. ELLIS' OFFICE - NIGHT 26

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

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

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

26 INT. BUILDING OPERATIONS CONTROL ROOM 26

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

27 THE HEAVY STEEL GATES TO THE PARKING GARAGE CLOSE 27

28 THE ESCALATORS TO THE GARAGE COME TO A STOP 28

29 OUT OUT 29

30 CONTROL ROOM - SAME 30

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

31 INT. LOBBY - SAME 31

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

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

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

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

32- OUT OUT 32-
35 35

35-A LOBBY - QUICK CUTS 35-A

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

Meanwhile:

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

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

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

36 HANS 36

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

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

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

38 INT. BUILDING BASEMENT - PHONE ROOM 38

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

39 INT. ELLIS' BATHROOM - RESUME 39

MCCLANE

Argyle...?

40 INT. LIMO 40

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

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

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

41 INT. PHONE ROOM - SAME 41

Karl cuts through the four tubes one at a time.

42 INT. ELLIS' BATHROOM - SAME 42

McClane on the phone.

ARGYLE'S VOICE

'Vote's not in yet?' What's that
supposed to mean.

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

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

43 INT. LIMO 43

Argyle looks at the phone.

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

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

ARGYLE

Well, call me back, John. You got
the number.

He hangs up and turns the volume back up.

44 ELLIS' OFFICE 44

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

45 INT. SERVICE ELEVATOR 45

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

CUT TO:

46 INT. ELLIS' OFFICE 46

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

47 MCCLANE'S P.O.V. 47

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

They are four offices away and moving fast.

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

48 MCCLANE 48

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

49 HALLWAY - FRANCE AND FRITZ 49

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

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

A moment later the man, and the woman are pushed out
into the hall and toward the larger group by Fritz. The other
terrorist, Franco, goes to Ellis' office and opens the door.

It is...empty.

50 INT. STAIRWELL - SAME 50

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

50-A 31th FLOOR 50-A

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

51 UNFINISHED FLOOR 51

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

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

MCCLANE
Sh*t...

He looks out the window at:

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

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

51-B BACK TO SCENE 51-B

Frustrated, he watches this, knits his brow.

MCCLANE
Think...

52 INT. 30th FLOOR - SAME 52

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

52-A HOLLY 52-A

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

52-B WIDER 52-B

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

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

HANS

Ladies and gentlemen, due to the
Nakatomi Corporation's legacy of
greed around the globe, it is about
to be taught a lesson on real power.
You...will be witnesses.
If our demands are not met, however --

-- You may become participants instead.

Now, where is...'Takagi'? Where is
the man who...

...used to be in charge here?

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

HANS

Mr. Takagi. How do you do. My
name is Hans Gruber.

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

56 INT. STAIRWELL - 33rd FLOOR - SAME 56

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

MCCLANE

32 construction...33 computers...

57- OUT OUT 57-
58 58

59 INT. SERVICE ELEVATOR - NIGHT 59

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

HANS
Nice suit. John Philips...London?

Takagi stares at him, speechless.

HANS

I have two myself.

I'm told Arafat shops there too...

60 INT. STAIRWELL 60

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

61 MCCLANE'S P.O.V. 61

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

62 MCCLANE 62

closes the door and slips back down the stairs.

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

Hands enters, looks around. *

HANS *
And when Alexander saw the breadth
of his domain, he wept. For there
were no more worlds to conquer.

The benefits of a cla**ical education.

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

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

TAKAGI

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

Hans straightens, looks hard at Takagi.

HANS
I believe you.

I read the article in Forbes. *

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

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

JUMP CUT:

64 A COMPUTER SCREEN SPITS OUT: 64

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

65 THEO 65

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

TAKAGI
I don't have that code...!

You broke in here to access out
computer?!? Any information you
could get -- they wake up in Tokyo
in the morning, they'll change it!
You won't be able to blackmail our
executives or threaten --

Hans barks him to silence:

HANS
SIT DOWN!

Takagi complies. Hans is abruptly compa**ionate and quiet.

HANS
Mr. Takagi...I'm not interested in your
computer.

I'm interested in the 640 million dollars
in negotiable bearer bonds you have in
you vault.

ON Takagi's reaction.

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

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

HANS

Who said we were terrorists?

65-A MCCLANE - ENTERING THIS FLOOR 65-A

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

65-B CONFERENCE ROOM - RESUME 65-B

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

HANS

The code key, please...?

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

Hans lifts the gun.

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

THEO

I told you...

KARL
It's not over...

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

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

He c*cks the gun:

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

HANS
Okay.

BANG!! He pulls the trigger:

66 OUT IN THE MUSEUM - MCCLANE 66 *

reacts as if shot.

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

The gla** doors to the boardroom are splattered red and
dripping...

66-A INSIDE 66-A

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

Hans springs to his feet:

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

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

67 OUTSIDE - MCCLANE 67

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

68 INSIDE - HANS 68

hears it. Karl is the first to move:

69 KARL 69

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

70 KARL 70

returns to Hans.

KARL
Nothing...

HANS

See to Heinrich...

Now...you can break the code key...?

THEO

You didn't bring me along for my
charming personality.

As he heads for the elevator.

THEO

'Though you could have...

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

71 INSIDE THE SUPPLY CLOSET - MCCLANE 71

slowly lets out a breath, praying softly:

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

CUT TO:

72 INT. LIMO - PARKING GARAGE 72

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

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

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

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

73 VAULT ROOM - 31ST FLOOR 73

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

HANS
How long?

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

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

Theo grins, begins typing.

73-A HIS SCREEN 73-A

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

74 32ND FLOOR 74

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

MCCLANE
Why the f**k didn't you stop him?

Because, you ignorant sonofab*t*h,
you'd be dead, too. Think...think,
Goddamnit!

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

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

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

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

The voice continues as the station doors open and we:

CUT TO:

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

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

77 32ND FLOOR - SAME 77

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

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

78 INT. SERVICE ELEVATOR - ON HANS - SAME 78

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

HANS

Call 911, give them the name and
badge number on your uniform and
cancel the alarm...then disable
the system.

Eddie? What floor did the alarm
go off?

78-A MACHINE FLOOR 78-A

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

79 UNFINISHED FLOOR - SAME 79

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

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

MCCLANE

Son of a b*t*h...

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

80 ON MCCLANE 80

under a desk. He takes in his options.

81 HIS P.O.V. 81

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

82 TONY 82

He moves steadily toward the area where we saw McClane.

TONY
The fire has been called off, my
friend. No one is coming to help
you. You might as well come out
and join the others.

I promise not to hurt you.

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

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

83 TONY'S P.O.V. 83

A radial arm saw spins noisily.

84 TONY 84

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

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

Tony doesn't. McClane c*cks his Beretta. Tony watches him
calmly.

TONY
You won't hurt me.

MCCLANE
Yeah? Why not?

TONY

Because you are a policeman. There
are rules for policemen.

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

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

MCCLANE
Let's go.

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

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

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

85 STAIRWELL LANDING 85

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

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

He rises, moves cautiously to the source.

85-A NEW ANGLE 85-A

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

CUT TO:

86 INT. 32ND FLOOR - NIGHT 86

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

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

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

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

86-A A DESK 86-A

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

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

TIGHT ON McClane's back as he pushes Tony's body on swivel
chair into the elevator.
CAMERA ADJUSTS as McClane pushes the b***ons for the 31th and
30th floors.

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

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

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

86-C HOSTAGE FLOOR 86-C

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

HANS
I wanted this to be professional,
efficient, a****, cooperative. Not
a lot to ask. Alas, your Mr. Takagi
did not see it that way...

So he won't be joining us for the
rest of his life.

We are prepared to go any way you
make us. When we have achieved our
aims you can walk out of here...
or be carried out. Decide now, each
of you. But remember that we have
planned everything to the last detail.
We are completely in change.

A "DING" attracts his attention. He turns.

87 NEW ANGLE 87

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

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

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

87-B HANS 87-B

REACTS.

HANS

Get them over there. Schnell!

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

87-C HOLLY 87-C

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

87-D NEAR THE ELEVATOR 87-D

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

87-E INSERT - THE NOTE 87-E

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

87-F BACK TO SCENE 87-E

FRITZ
Perhaps a security guard we
overlooked...?

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

HANS

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

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

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

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

FRITZ'S VOICE

We have to do something, Hans.

HANS' VOICE

Yes...we have to tell Karl his brother
is dead. Tell him to come down.

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

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

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

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

89 MCCLANE'S P.O.V. 89

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

90 MCCLANE 90

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

91 MCCLANE'S P.O.V. 91

Total darkness.

92 MCCLANE 92

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

MCCLANE
Jesus...

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

93 PUMP ROOM 93

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

94 MCCLANE'S P.O.V. 94

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

95 30TH FLOOR - HOLLY'S OFFICE - SAME 95

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

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

KARL

He was my only brother...my only
family!

I want blood for my blood. We
search...now.

He starts to move. Hans stops him.

HANS

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

KARL

And if he alters it...? *

For once Hands doesn't have an answer.

95-A HOSTAGES - AROUND THE CORNER 95-A

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

ELLIS
What's happening?

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

ELLIS
The police...?

HOLLY

John.

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

HOLLY
How about his job?

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

HOLLY

Tell that to Mr. Takagi.

96 EXT. ROOF - NIGHT 96

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

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

97 OUT OUT 97

98 INT. HANS' OFFICE - SAME 98

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

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

Karl looks almost...satisfied.

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

They move.

99 INT. LOS ANGLES EMERGENCY DISPATCH CENTER - SAME 99

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

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

SUPERVISOR

-- the false alarm? I'll handle *
it.

She plugs in her headset.

SUPERVISOR

Attention, whoever you are. This
channel is reserved for emergency
calls only --

MCCLANE'S VOICE
No f**king sh*t, lady! Do I sound
like I'm ordering a pizza?

100 OUT OUT 100

101 INT. SERVICE ELEVATOR - ON KARL - SAME 101

with Franco and Fritz.

KARL
No one kills him but me.

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

102 EXT. UPPER ROOF 102

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

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

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

MCCLANE

-- fine! Report me! Hey, come down
here and f**king arrest me! Send
the police. NOW -- !

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

CUT TO:

103 INT. DISPATCHER OFFICE - SAME 103

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

104 OUT OUT 104

105 EXT. ROOF - ON MCCLANE - SAME 105

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

106 INT. EMERGENCY DISPATCH - SAME 106

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

SUPERVISOR

Ad...have a black-and-white do a
drive-by.

CUT TO:

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

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

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

CLERK
Thought you guys just ate donuts.

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

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

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

Powell grabs the radio, speaks into it.

POWELL
One Adam Ten, go ahead.

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

POWELL

Nakatomi Plaza?

He moves to the door, steps outside.

107-A EXT. CONVENIENCE STORE 107-A

Powell looks towards the horizon and up.

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

DISPATCH VOICE
One Adam Ten, do you copy?

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

POWELL

Roger, dispatch. I'm on the way.

And he BURNS RUBBER leaving the store:

CUT TO:

108 EXT. ROOF - ON MCCLANE - NIGHT 108

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

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

109 ELEVATOR SHAFT NEAR PUMP ROOM 109

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

The catwalk ends, and the elevator is gone.

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

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

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

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

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

KARL
Hans, he killed by brother --

HANS

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

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

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

He's OVERHEARD enough of this to realize he's in deep sh*t.
He backtracks to the air shaft door, strikes a cigarette
lighter.

110- OUT OUT 110-
117 117

117-A ELEVATOR SHAFT 117-A

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

118 MCCLANE 118

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

118-A HIS WEAPON 118-A

and its canvas gunsling and metal strap slides.

118-B BACK TO SCENE 118-B

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

119 AIR SHAFT 119

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

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

Suddenly he FEELS something GIVE above him and looks up.

120 CLOSE ON THE SLING 120

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




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