Die Hard Part 2 Lyrics

20th Century Fox Lyrics


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

MCCLANE

Ellis, what have you told them?

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

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

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

ELLIS
Tell me about it.

He looks at Hans, who gives him a nod.

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

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

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

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

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

Yeah, I hear you, you f**king moron!

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

MCCLANE
Don't you think I know that! Put Hans on! Hans, listen to me, that
sh*thead doesn't know what kind of sc*m you are, but I do --

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

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

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

MCCLANE
That a**hole's not my friend! I barely know him! I hate his
f**king guts -- -- Ellis, for Christ's sake, tell
him you don't mean sh*t to me --
ELLIS
John, how can you say that, after all these years--? John? John?

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

CUT TO:

237 INT. 33RD FLOOR - MCCLANE 237

He was expecting the SHOT but it still chills him.

238 30TH FLOOR - HOLLY AND HOSTAGES 238

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

239 INT. HANS' OFFICE - ON HANS 239

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

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

MCCLANE
Go f**k yourself.

He DISCONNECTS.

240 EXT. BUILDING 240

Powell fends off Robinson, who wants the CB.

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

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

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

POWELL

He's alone, tired, hunted, and hasn't seen diddly-squat from us and you think he gives a flying f**k about what you're going to do to him? Robinson, wake up and smell the sh*t you're shoveling!

ROBINSON

Anytime you want to go home, Sergeant...consider yourself dismissed.

They lock eyes.

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

HANS' VOICE

Attention police. Attention police.

It's a**es and elbows time. Tape recorders are started.

POWELL

This is --

ROBINSON

This is Deputy Chief Robinson. Who is this?

INTERCUT:

241 HANS' OFFICE 241

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

ROBINSON
What do you wish for, Mister Gruber?

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

INTERCUT:

242 MCCLANE 242

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

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

243 HANS' OFFICE 243

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

KARL

'Asian Dawn Movement?'

HANS

I read about them in Time magazine.

When these Revolutionary Brothers and Sisters are Free, the hostages in this building will be taken to the roof and
they will accompany us in helicopters to the Los Angeles International Airport where you will be given further
instructions. You have two hours to comply.

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

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

HANS
Who cares? Theo. Are we on schedule?

INTERCUT:

244 VAULT ROOM 244

Theo and Kristoff have been rewarded with another LOCK
DEACTIVATED.

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

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

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

HANS *
It's Christmas, Theo, it's the time of miracles. So be of good cheer
and call me when you hit the last lock. Karl...hunt the little sh*t down and get those detonators.
*
KARL
Franco is checking the explosives, Fritz is with him.

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

245 MCCLANE - 32ND FLOOR 245

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

MCCLANE
Al? Al, you there?

POWELL
I'm here, cowboy.

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

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

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

POWELL
In my youth, partner. In my youth.

246 INT. TV STUDIO - NIGHT 246

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

GAIL
...author of... 'Hostage/Terrorist, Terrorist/Hostage, a Study in Duality.' Dr. Ha**eldorf, what can we expect in the next few hours?

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

HARVEY
As in Helsinki, Sweden?

247 CONTROL ROOM 247

Sam sighs, shakes his head.

HA**ELDORF
Uh...Finland. Basically, it's when the hostages and the terrorists go through a sort of psychological transference and projection of dependency...

248 INT. NAKATOMI - HOSTAGE FLOOR 248

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

HA**ELDORF

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

249 INT. BUILDING - MACHINE FLOOR 249

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

250- OUT OUT 250-
253 253

CUT TO:

254 OUTSIDE THE BUILDING 254

Robinson looks at a YOUNG COP, reacts, startled:

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

YOUNG COP
Yessir. Right over there.

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

POWELL

You want a breath mint?

Robinson glares at him, then they move together towards:

255 A BIG DARK GOVERNMENT CAR 255

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

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

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

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

ROBINSON
Dwayne Robinson, LAPD. I'm in charge here.

BIG JOHNSON
Not any more.

As Robinson REACTS, we GO TO:

257 THE MECHANICAL FLOOR - TIGHT ON HANS 257

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

258 LOW ANGLE 258

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

MCCLANE
Lost?

259 NEW ANGLE 259

A moment. And then Hans turns, looks up.

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

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

MCCLANE

Whoa, whoa, easy man. I won't hurt you. Who are you? What are you looking for?

Hans' eyes dart towards:

260 THE B***RESS TEN FEET AWAY 260

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

261 BACK TO SCENE 261

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

He starts in that direction.

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

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

HANS
You...you're an American?

MCCLANE
Only if New Jersey counts.

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

CUT TO:

261-A OUTSIDE BUILDING 261-A

ROBINSON

We've got thirty, maybe thirty-five hostages, probably on the 30th floor...seven, maybe eight terrorists.

LITTLE JOHNSON
Sounds like a standard A-7 scenario.

Big Johnson nods in agreement, turns to Robinson.

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

He starts to move away with his partner.

POWELL
Aren't you forgetting something?

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

BIG JOHNSON
Such as...?

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

LITTLE JOHNSON
He's inside? Who is he?

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

BIG JOHNSON
One of yours?

ROBINSON
No, sir.

BIG JOHNSON

If he's not a terrorist, and he's not a hostage...he's just not part of the equation.

They start to walk away.

POWELL

T...that's the same Goddamn thing the terrorists said!

LITTLE JOHNSON
Really? That's one good thing. Sound like we're dealing with pros.

They leave.

CUT TO:

262 THE COMPUTER FLOOR 262

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

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

263 CLOSER SHOT 263

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

MCCLANE
Relax, man...you smoke?

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

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

MCCLANE
I'm a cop from New York.

HANS
New York...

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

Hans' eyes take in his bare feet.

MCCLANE
Better than being caught with your pants down, right? John McClane.

HANS
William Clay. Call me Bill.

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

264 THE WALL - A ROSTER OF NAKATOMI EMPLOYEES 264

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

265 BACK TO SCENE 265

MCCLANE Bill, you know how to use a handgun?

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

MCCLANE
Sounds better than nothing.

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

MCCLANE
Time for the real thing.

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

265-A NEW ANGLE 265-A

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

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

McClane just looks at him.

MCCLANE
Hans. Your Hans.

HANS
Put it down now.

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

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

MCCLANE
Yeah. Like you did with Takagi.

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

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

MCCLANE
You think I'm a shmuch, Hans.

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

HANS
You were saying.

McClane whirls in time to see:

266- OUT OUT 266-
269 269

260 KARL, FRANCO AND FRITZ 270

Coming out of it, FIRING.

271 BACK TO SCENE 271

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

272 WHERE HANS WAS 272

He's gone, a SWINGING OFFICE DOOR the only evidence of his
pa**ing.

273 BACK TO SCENE 273

McClane curses himself, then RETREATS into a:

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

274 BANK OF COMPUTERS 274

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

275 FRANCO 275

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

276 CLOSER 276

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

277 MCCLANE 277

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

278 HANS 278

has reappeared and snatched up Franco's weapon.

279 MCCLANE 279

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

280 HANS 280

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

HANS
The gla**! Shoot the gla**!

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

281 MCCLANE 281

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

282 HIS FOOT 282

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

283 STAIRWELL DOOR 283

He's out, gone, safe!

284 BACK TO SCENE 284

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

He's holding the bag of detonators.

HANS
Smile, Karl. We are back in business.

CUT TO:

285 INT. TV TRAILER 285

HA**ELDORF
...all depends on what we mean by "Terror.' If Clauswitz could say 'War is the last resort of Diplomacy,'
couldn't we just as well say that terrorism has an equal claim to...

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

THORNBURG
You got something?

MARY Just McClane's name, badge number,
police record, vital statistics.....And his family's address right here in L.A.

As Thornburg GRINS we GO TO:

286 HOSTAGE FLOOR 286

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

287 HOLLY AND GINNY 287

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

GINNY
That one look p*ssed, Ms. Gennero...

HOLLY Thank God. He's still alive.

CUT TO:

288 UPSTAIRS - WASHROOM 288

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

CUT TO:

289 VAULT ROOM - SAME TIME 289

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

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

INTERCUT:

290 HANS' OFFICE 290

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

291 INT. BATHROOM - NIGHT 291

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

POWELL
Roy? You still with us?

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

INTERCUT:

292 POWELL - OUTSIDE 292

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

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

MCCLANE
Yeah? What's the odds?

POWELL
You don't want to know.

Suddenly remembering an NYPD course in first aid from ten years
ago, McClane removes the improvised bandage, check the cut
more carefully.

MCCLANE

Put me down for twenty anyway...I'm good for it...so, what got you off the street, Al? You liked lousy coffee, or what?

Powell doesn't answer right away. At the same time, McClane
swallows, seeing a gleam inside his foot. He gingerly probes,
and pulls out a shard of gla** almost three inches long from its
angled gash, his mouth twisted in a silent scream all the way.

POWELL'S VOICE
I...realized I couldn't do what I had to anymore...at least not out
there. I had an...accident.

McClane throws the gla** across the room, forehead bathed in
sweat.

MCCLANE
They way you drive, I can see why.

POWELL
I...I shot a kid.

Realizing what he's hearing for the first time, McClane's face
shifts to a new kind of pain.

POWELL

Eleven years ago. Oh, it was dark... he was big for his age...damn ray gun he had looked real enough...yeah, I had all the right excuses...but afterwards... I really couldn't draw my gun again.

MCCLANE
I...I'm sorry. I didn't mean to make a joke of it.

POWELL
Hey, you couldn't know.

MCCLANE
I still feel like sh*t.

POWELL
Then this won't matter. LAPD's not calling the shots anymore.

And as McClane REACTS we GO TO:

293 INT. VAULT ROOM - NIGHT 293

Hans and Theo lean over a monitor watching a DWP truck near
the parking garage.

THEO *
There's the city engineers...they're
going into the street circuits...But who are these guys in the suits?

HANS
That's the FBI...ordering them to cut the building's power. They're as regular as clockwork...or a time lock...

ON Theo's look:

HANS
...the circuits that cannot be cut... are cut automatically in reponse to a terrorist incident...You ask for miracles, Theo...I give you the FBI...

THEO
When you're hot, you're hot.

CUT TO: *

294 EXT. BUILDING 294

As we saw on Theo's screen, the Johnsons and Robinson and
Powell are my a MANHOLE with a CITY ENGINEER. A big CONTROL
BOX is there, cables snaking into the ground where another
CITY WORKER finishes WELDING a last connection.

GUY IN MANHOLE
We're spliced in down the line.

LITTLE JOHNSON
Do it...now.

The engineer THROWS GIANT LEVERS. Inside the manhole, SPARKS
SIZZLE and ma**ive contacts CLUNK.

295 THE BUILDING 295

One by one, all the light on all the floors GO OUT.

296 MCCLANE 296

in the bathroom, ripping off his shirt and tying it around his
foot, he REACTS --

MCCLANE
Powell? What's going on?

INTERCUT:

297 OUTSIDE 297

POWELL

Ask the FBI. They've got the terrorist playbook and they're running it, step by step.

McClane reacts, worried; he knows better.

298 THE HOSTAGES 298

groan with this new problem:

299 THE VAULT ROOM 299

Theo and Kristoff and Hans huddle over the computer monitor
screen as if it was a warm fireplace. Theo points to the
computer screen; all they can do is wait.

We HEAR the HUMM of a portable generator. The lights go OFF.
The computer screen stays ON. Theo looks over at the safe.

300 SAFE LED READOUT 300

It still reads "FIBER OPTIC TIME LOCK CANNOT BE DISARMED AT
THIS LOCATION. TERMINATE SEQUENCE ?"

301 BACK TO SCENE 301

KRISTOFF
Damn! It didn't go!

THEO
They're on the building circuit... it's too local.

HANS
Encourage them to be bolder.

THEO
The only thing left for them is the City Grid......They may not do it.

302 EXT. BUILDING 302

Just as the Johnsons are looking SMUG...all the floors GO
BACK ON, one by one!

LITTLE JOHNSON
Sh*t! Cut it again. Go wider.

ENGINEER
I can't go wider here... ...I'd have to call downtown have them take down one of the city grids...you're talking ten square block --

ROBINSON-- ten blocks?
Are you crazy? It's Christmas Eve, thousands of people -- the Mayor'll scream bloody murder --

BIG JOHNSON

We must shut down the building. Go wider --!

ENGINEER
I need authorization --

BIG JOHNSON
Authorization? How about the United States F**king Government Lose the grid or lose your job!

The engineer looks at Robinson. No help. The engineer looks
at his guy in the manhole, shrugs. No choice.

ENGINEER Central. This is Walt, out at
Nakatomi. I want you to shut down grid 212.

No sh*t, it's my a**. Just shut it down now.

Pause...pause...AND THEN THE FLOORS OF THE BUILDING ALL GO
OUT AGAIN.

303 IN THE VAULT ROOM 303

EMERGENCY LIGHTING FLICKS ON. An ALARM "beep-beep-beeps."

304 THE LED READOUT ON THE SAFE 304

changes to "FIBER OPTIC TIME LOCK DEACTIVATED AT SOURCE.
SEVENTH LOCK DISENGAGED."

305 BACK TO SCENE 305

With a dramatic HUM worthy of 2001, the vault door OPENS!

306 OUTSIDE 306

The FBI guys look at the dark building, than at the LAPD guys.

BIG JOHNSON
That should shake'em up. With all the power shut down, those b*st*rds are probably scared sh*tless.

307 IN THE VAULT ROOM 307

The safe door finishes its ponderous move, CLUNKS to a halt.
Theo and Kristoff LAUGH, give each other high fives. Even Hans
loses his usual cool, slaps Theo on the back as Theo and
Kristoff CHEER.

CUT TO:

308 THORNBURG'S TV TRUCK 308

drives along a residential street. We SEE the Nakatomi tower
in the b.g., spotlit by the police beams. Thornburg checks a
map, POINTS a turn out to the driver.

CUT TO:

309 OUTSIDE THE NAKATOMI BUILDING 309

Powell looks up at the dark structure lit only by emergency
lighting. He sidles over to the FBI men.

POWELL

What do we do now, arrest them for not paying their electric bill?

LITTLE JOHNSON

We let them sweat awhile. Then, when they're expecting helicopters......We give them helicopters...

BIG JOHNSON

Right up the a**...
This is Johnson...no the other one. I want that air support ready to lift off in five minutes...Damn right fully armed. We're on our way.
Attention in the building.

INTERCUT:

310 VAULT ROOM 310

Hans talks while Theo and Kristoff tackle the problem of
unloading the racks and racks of bonds and transferring them
to the black cases.

HANS
This is Hans...

BIG JOHNSON
This is Agent Johnson of the FBI. The State Department has arranged for the release of your comrades. The
helicopters you requested are on the way.

HANS
I hear you, FBI. We'll be ready.

He disconnects, smiles at Theo.

HANS
When they touch down and we blow the roof, they'll spend a month sifting through the bodies and rubble. By the time they figure out what went wrong......we'll be earning twenty percent like nice fat Capitalists.

BIG JOHNSON

By the time he figures out what hit him he'll be in a body bag.

The Johnsons exit. Powell and Robinson look at each other,
unhappy. Powell's CB HISSES --

MCCLANE'S VOICE
Powell, listen...

Powell moves off to be alone.

INTERCUT:

311 INT. BATHROOM 311

POWELL
I'm here, John.

McClane tries walking on his foot. He winces in pain, clearly
at the end of his resources.

MCCLANE

Look...I'm getting a bad feeling up here...I'd like you to do something
for me. Look up my wife...don't ask how, you'll know by then...and tell her...tell her...I've been a j*rk. When things panned out for her, I
should've been behind her all the way ...We had something great going until I screwed it up...She was the best thing that ever happened to a bum like me. She's heard me say I love you a thousand times, but she never got to hear this...honey...I'm sorry.
You get all that?

POWELL

I got it. But you can tell her yourself. Just watch your a** and
you'll make it.

MCCLANE
I hope so. But that's up to the guy upstairs.

Upstairs......Hans, you b*st*rd...what were you
doing?

POWELL
Roy?

MCCLANE
Stand by, Powell. I gotta check something out.

He moves towards the door, limping hurriedly out of the room.

CUT TO:

312 HOLLY'S FRONT DOOR 312

Thornburg's got one foot literally in the doorway, but since
Paulina still has the chain on, it's not quite enough.

THORNBURG

One minute, that's all we ask. You could be denying them their last
chance to talk to their parents.

PAULINA
I'm sorry...Mrs. Holly says I couldn't let strangers into --

THORNBURG
Strangers? I'm with KFLW TV, that's affiliated with the FCC, and I'm sure you know that's the United States government...just like the INS?

As she wavers...

CUT TO:

313 THE MECHANICAL FLOOR 313

McClane hobbles in here, favoring his foot. He retraces his
steps earlier, mentally replaying his meeting with Hans.

MCCLANE
I was here...he was...

His eyes flick over the area...then he looks up. Seeing
something, he moves closer. He sets down his CB and then, with
difficulty, he climbs up on a thick pipe, flicks his lighter
and hold its high.

314 HIS P.O.V. 314

Explosives are everywhere.

315 BACK TO SCENE 315

He reacts, quickly extinguishing the lighter. He follows the
detonator lines with his eyes.

MCCLANE
Oh my God...

He drops to the floor, winces in pain, picks up his CB.

MCCLANE
Powell! Powell, listen to me! You're being double crossed! The whole roof of this building is --

Suddenly a GUN BARREL is pressed against his head. He stiffens.

316 NEW ANGLE 316

Karl takes his Baretta, tosses it away. Then Karl takes the
CB. Smiling, Karl SMASHES the transmitter underfoot.

CUT TO:

317 EXT. BUILDING - POLICE LINES 317

Powell is beside one of the radio monitoring officers.

POWELL
Roy? Hello? Hello? I thought you had him.

OFFICER
I did. He said something about a, a double cross...

POWELL
Tell me about it.

318 NEW ANGLE 318

Showing two HELICOPTERS in the distance heading this way.

CUT TO:

319 MACHINE FLOOR 319

Karl hovers over McClane, who hasn't moved a muscle.

KARL

We're both professionals. But this is personal. You...are done.

WHAM! McClane DRIVES his elbow into Karl's face.

320 NEW ANGLE 320

Karl's weapon clatters on the floor. McClane follows his first
blow with another. Karl recovers, and with a spinning karate
kick SLAMS McClane back.

CUT TO:

321 HOSTAGE FLOOR - NIGHT 321

Eddie turns from a window, where the chopper lights loom closer.

EDDIE
They're coming.

CAMERA PANS across the room to the doorway of the office, where
Hans nods, stands.

THORNBURG'S VOICE FROM TV
-- I know you're proud of your daddy...

322 CLOSEUP - HOLLY 322

She's speechless, watching in shock as:

323 THE PORTABLE TV 323

shows Thornburg at Holly's house! He's squatting down with his
microphone to interview the children in their P.J.s. His voice
is soft, comforting.

THORNBURG

...because he's a very brave policeman. And your mom has shown just as much courage. But is there something you would like to say to them if they're watching?

John Jr. says nothing, but Lucy looks at the camera.

LUCY
Come home.

324 HOLLY 324

She struggles to stay composed...can't. She slowly turns her
head, looks at Hans.

325 HER P.O.V. - HANS 325

He's looking away from us, at the picture of the children on
her desk. He turns back and looks at her. He smiles.

HANS
Mrs. McClane. How nice to make your
acquaintance.

He raises his weapon...but he only shoot it into the ceiling,
making everyone jump!

HANS

On your feet, everyone! Upstairs, now!
You'll lock them up there and come right down...

Uli nods and he and Eddie help herd everyone towards the stairs.
Hans moves forward...grabs Holly himself.

CUT TO:

326 THE MACHINE FLOOR 326

McClane and Karl move towards each other, each sizing the other
up, each looking over the terrain.

MCCLANE
Better this way, isn't it? I mean, any faggot can shoot a gun.

This time Karl doesn't take the bait. Then, when he
does charge, it's unexpected.

The two men fight brutally, Karl bringing years of martial
training to this moment, McClane bringing nothing but the street.

327 NEW ANGLE 327

MCCLANE
You should've heard your brother scream when I broke his f**king
neck...

Karl steps in quickly with a deadly move. McClane twists free,
slams an elbow into Karl's kidney. Karl backs off, circles
McClane with new respect.

CUT TO:

328 INSIDE AN FBI CHOPPER - IN FLIGHT 328

THROUGH THE CANOPY we SEE another flanking chopper. Johnson
and Johnson are here, helmets and mikes on. Big Johnson checks
aerial maps while Little Johnson checks ammo clips for his
sniper scoped a**ault rifle.

BIG JOHNSON

Stay low. They're expecting transports, not gunships.

LITTLE JOHNSON
What do you figure on breakage?

BIG JOHNSON
I figure we take out all the terrorists, and lose 20 percent of the hostages... 25, tops.

LITTLE JOHNSON
I can live with those numbers.

CUT TO:

329 VAULT FLOOR 329

Theo and Kristoff load the bonds into the big cases which carried
all their gear when they entered. As Hans and Eddie come in they
look curiously at Holly.

HANS
A little bonus for us. A policeman's wife might come in handy.

He picks up a CB, speaks into it.

HANS
McClane! McClane! I have some news for you...McClane?

330 THE MACHINE FLOOR 330

TILT UP from the CB radio Karl smashed.

Karl and McClane are in the b.g., almost toe to toe, all their
tricks played out, going at it with animal instinct.

331 THE VAULT ROOM 331

HANS
McClane? Karl? Karl?

Nothing. He looks at Theo.

HANS
Hurry.

332 THE ROOF 332

Uli herds the hostages up onto the roof, pushing the last few
out.

333 LONG SHOT - FBI CHOPPERS - DOWN AVE. OF THE STARS 333

They float toward us, hugging the street, their prop wash
shaking the trees.

334 POWELL AND ROBINSON 334

Following them with their eyes, for once sharing the same opinion.

335 HOSTAGES ON THE ROOF 335

They see their very own Christmas decorations, the friendly
copter lights, and begin to smile and cheer. Uli smiles to
himself, moves towards the door:

336 VAULT ROOM 336

Theo closes the lid of a bond-stuffed case, carries it out of
the room. Holly's eyes follow his exit while the others continue.

HOLLY

After all your posturing, all your speeches...you're nothing but a common thief.

HANS
I'm an exceptional thief, Mrs. McClane. And now that I'm moving up to kidnapping, you should be more polite.

He SLAPS her.

337 MACHINE FLOOR 337

Karl drives McClane back with a sweeping head kick. Another one.
McClane is staggering. He gets in one hard punch and then Karl
charges at him. McClane falls backwards, drives his legs
upwards, propelling Karl into the air:

338 LOW ANGLE 338

Karl goes into a loop of chain hanging over a turbine, becomes
entangled.

339 MCCLANE 339

jumps to his feet, yanks the other end of the chain.

340 KARL 340

is J*RKED upwards by the neck. He TWITCHES like a captured
fish -- starts to turn blue:

341 MCCLANE 341

Twists the chain end around a pipe as Karl STILLS. McClane
snatches up his Baretta from the floor, runs out.

CUT TO:

342 CHOPPERS - IN THE AIR 342

We can SEE the tailing 'chopper through the open port of this
one. Big Johnson leans over, slaps the shoulder of his pilot.

BIG JOHNSON
Just like Saigon, eh, Wally?

PILOT
My kind of town.

CUT TO:

343 THE ROOF 343

The door rattles. His back to the CAMERA, Uli goes to the door,
OPENS it -- and TWO BULLETS COME OUT HIS BACK. Smoking Baretta
in hand, McClane vaults over the body before it has even stopped
twitching. As the hostages SQUEAL and SCREAM, McClane snatches
up Uli's machine gun, runs out onto the roof. He charges
through the crowd, spots Ginny near the edge of the roof. She
meets him halfway.

MCCLANE
Where's Holly --

GINNY
The took her -- after they saw the
kids on television --

MCCLANE
What? God --

He looks off to the choppers. Closer yet. He turns, SHOUTS.

MCCLANE
Listen to me! All of you, get down
to the lower floors -- you're all
in danger.

HOSTAGE
What are you, crazy? We're being
rescued! Those helicopters --

MCCLANE
-- there won't be sh*t for those helicopters
to land on, because the whole top of this
building is wired with explosives! Now
get below --

SECOND HOSTAGE
But...we're safe up here --

MCCLANE
Safe, my a**! This ain't a helipad,
it's a launching pad!

And he FIRES over their heads! They SCREAM, head for the door
as he hoped! He FIRES again, raking a line across the roof.
They really haul a**.

MCCLANE
GET BELOW! NOW!

344 IN THE WING CHOPPER - MID-AIR 344

A YOUNG FBI AGENT is here with a rifle and a partner.

YOUNG FBI

Flight leader, this is Wing. I think
they're on to us. One of the terrorists
is firing on the hostages.

345 INSIDE THE OTHER CHOPPER 345

LITTLE JOHNSON

Roger, Wing. We copy.

Swing around.

Give me a clear shot.

The pilot nods.

346 INT. VAULT ROOM 346

HANS

Schnell, schnell...der zeitz ist kurz...

Something catches his eye. He turns, looks at:

347 VIEW THROUGH WINDOW -- HIS P.O.V. 347

Through the gla** here he can catch a glimpse of the hostages
coming back into the room!

CUT TO:

348 THE ROOF 348

McClane herds the last of the hostages inside, starts for the
door himself, when with a ROAR and a CHATTER of rotors, the
lead chopper zooms overhead! McClane throws himself down on the
ground, looks up as the chopper banks in a tight turn and then
from the open side GUNFIRE erupts! Shocked, McClane DIVES out
of the way of the bullets that st**ch across the door.

349 HOSTAGES - ON LOWER FLOORS 349

descending, SCREAMING and HOWLING as a chopper SWEEPS past a
window on a loop back towards the roof.

350 IN THE CHOPPER 350

Both Johnsons FIRE AWAY

BIG JOHNSON
Bank and we'll nail him!

351 THE VAULT ROOM 351

Hans whirls towards Kristoff.

HANS
Blow the roof. Now!

KRISTOFF
But Karl and Uli are up there --

CAMERA ADJUSTS to show the remote detonator on a table. Hans
goes to it.

352 THE ROOF 352

McClane DIVES away from another burst.

MCCLANE
You a**holes, I'm on your side -- !

They come in on another pa**. Desperate, he looks around, see
a fire hose. Makes up his mind. With the chopper LOOMING UP
behind him, he slings Uli's weapon, runs to the fire hose,
unreels three yards, loops it around his back and under his legs.
He looks over the edge, hesitates:

MCCLANE
F**k this...

Bullets HIT all around him. He JUMPS:

353 THE VAULT ROOM 353

Hans extends the antenna...HITS the b***on.

354 LONG SHOT - THE ROOF 354

The helipad EXPLODES! A FIREBALL rolls into the sky.

355 THE HOSTAGES 355

lose their footing on the floor. Dust and debris fall down,
but they're okay.

356 JOHNSON AND JOHNSON'S CHOPPER 356

STRAINS to avoid the rising fireball...can't! It's CAUGHT in
the explosion! It tips over, a rotor hits the roof -- it
CRASHES, EXPLODES, tumbles down the side of the building!

357 MCCLANE 357

Dangling against the side of the building, he DUCKS and winces
as FLAMING DEBRIS soar past him.

358 THE ROOF - HOSE WHEEL DEVICE 358

Flame ROARS TOWARDS it, engulfs it. It J*RKS on its foundation
PIVOTS 180 degrees as several bolts slip:

359 MCCLANE 359

DROPS several more feet. He swallows, then KICKS against the
side of the building, his bloody feet leaving smears. The
shatterproof gla** doesn't budge! Wincing as more FLAMING DEBRIS
sizzles by, McClane levels the machine gun, KICKS off from the
building, SWINGS back ten feet -- reaches the zenith of his
arc -- FIRES the gun and sails back in:

360 INSIDE THE BUILDING 360

McClane SMASHES through the shattered gla**, SAILS inside, rolls
onto the floor, PLOWING through furniture and decor. Finally
he STOPS, catches his breath with relief...rises to one knee:

361 UP ON THE ROOF 361

The fire hose mounting is BLASTED off the roof, SAILS past the
CAMERA:

362 OUTSIDE THE BUILDING 362

The hose mechanism tumbles downward!

363 INSIDE 363

McClane is YANKED off his feet, dragged towards the window!

364 THE HOSE WHEEL - OUTSIDE 364

It SLIDES down the side of the building! The hose PLAYS OUT
on the edge of the windowsill, dragging McClane towards his death!

365 MCCLANE 365

CLAWS at the floor...no help. Inches from the shattered window,
he braces his legs against the sill, groans as he fights the
weight of the hose and the reel. One foot SLIPS. Only his
already wounded foot keeps him indoors.

He scrambles to untie his improvised rappeling rig -- gets free
just before the hose nozzle CRASHES out and into the great beyond!

Winded, strength ebbing, he staggers to his feet -- just in time
for:

366 THE ROOF 366

to RECOIL from another staggering explosion!

367 THE HOSTAGES 367

They scream, cry out:

368 IN THE VAULT ROOM 368

As Holly covers her head from falling plaster, the men work
like automatons, piling up the bonds.

369 MCCLANE 369

recovers from another AFTERSHOCK, runs up the steps -- is
momentarily amazed to HEAR a "ding" from the elevator -- he looks
at:

370 THE SHAFT 370

where suddenly the WALL EXPLODES OUTWARD as an ENTIRE ELEVATOR
CRASHES THROUGH THE WALL, swinging on its cable like a
demolition ball on a crane!

371 BACK TO SCENE 371

McClane runs up the steps as brickwork flies past his head like
schrapnel:

372 THE ELEVATOR 372

reaches the apex of its swing, drops down in an arcing turn:

373 WIDE SHOT 373

the elevator CRASHES into the stairs! The section McClane in
on SNAPS LOOSE! At the last minute McClane LEAPS towards:

374 THE VAULT FLOOR BALCONY 374

and catches it as stairs and elevator CRUMBLE behind and beneath
him! With his last effort, he hauls himself onto the balcony
and them moves off!

CUT TO:

375 EXT. BUILDING 375

The police are scrambling for cover. Powell and Robinson are
open-mouthed.

376 IN THE BASEMENT 376

Argyle is huddled down on the floor of the back seat, the stuffed
animal held over his head as much for company as protection.
As the building ceases to ROCK Argyle sneaks a peek out from
under the fur...and sees:

377 HIS P.O.V. - THEO 377

at the delivery truck. He steps into a white paramedic's
jumpsuit and zips it up. He hops into the cab and pulls the
truck away from the loading dock.

378 MCCLANE - ON THE VAULT FLOOR 378

He creeps forward, looks carefully into:

379 HIS P.O.V. - VAULT ROOM 379

They're getting ready to leave with the bearer bonds. Suddenly
the CAMERA FOCUS CHANGES TO HOLLY.

380 BACK TO SCENE 380

McClane's face shows his anguish. He checks the weapon he took
from Uli. One bullet!

MCCLANE

Sh*t...

He checks his Baretta. One bullet. He thinks, desperate.
Decides. He takes the bullet from the rifle clip, adds it to
the Baretta clip. He slams the pistol clip back, really worried.
Mind racing, he looks all around the room...his eyes fall on a
tape dispenser. He thinks again...steps towards it:

380-A IN THE BASEMENT 380-A

Theo has pulled two ramps out from the truck and slips into
the back. A car engine fires up inside the delivery truck.

381 ARGYLE 381

Realization dawning, he vaults into the front seat.

382 THE GARAGE 382

A paramedic van shoots out of the back of the Pacific Courier
delivery truck. Flooring the limo, Argyle CRASHES into
the van, which CAREENS into the wall.

383 CLOSER 383

Theo staggers out in time for Argyle to deck him with one punch.

ARGYLE

Where's the camera when you need them?

CUT TO:

384 THE VAULT ROOM 384

HANS
Let's move.

The last of the money is piled on. Hans hangs onto Holly while
Eddie pushes the mail carts of moneybags. Kristoff goes to the
door to scope their escape...suddenly he is COLD C*CKED by a
rifle b***.

385 WIDER 385

McClane steps into view in the doorway, backlit by sparks still
tumbling down from the roof above. He holds the machine gun
ready.

MCCLANE
Hans!

Hans turns, not that surprised. Grinning, he yanks Holly into
view. No words need be said.

HOLLY
John!

MCCLANE
Holly, we have to stop meeting like
this.

So that's what it was. A f**king
robbery.

So why nuke the building, Hans?

HANS

When you steal six hundred dollars,
you can disappear...but when you
steal six hundred million, they will
find you...unless you play dead.

Which happens to be your next role...
drop your gun, please.

McClane hesitates...Hans pushes the gun against Holly again,
really hurting her. Eddie quickly raises his weapon.

HANS

Nein, dies ein ist mein.

This time John Wayne does not walk
off into the sunset with Grace Kelly.

MCCLANE
That was Gary Cooper, sh*thead...

HANS
No more jokes, drop it or she gets it
between the eyes!

MCCLANE

Whoa, Hans, now you're the cowboy?

HANS
'Yippe-ki-yea, mother f**ker'? Now
you are f**ked.

He aims:

MCCLANE
Holly, now...!

Instantly, Holly sidesteps, JABS her elbow into Hans' face!

386 MCCLANE - OVER SHOULDER SHOT 386

At the same moment Holly moves, McClane grabs his Baretta
from its hiding place TAPED TO THE BACK OF HIS NECK, SHOOTS
Hans high in the chest!

The bullet pa**es right THROUGH Hans, and the WINDOW behind
him SPLATTERS with blood and SHATTERS. Even while this is
happening, McClane SPINS:

387 EDDIE - THROUGH MCCLANE'S WIDESPREAD LEGS 387

Eddie takes a gunshot, DROPS just like on Gunsmoke.

388 BACK TO SCENE 388

Hans drops his weapon, staggers, looks down at his own blood
in shock.

389 MCCLANE 389

MCCLANE
You were right about us Americans.

We are cowboys.

390 VAULT ROOM - WIDER 390

Incredibly, Hans still stands, eyes filled with shock and
disbelief. He REELS, falls against the windowsill, starts to
TOPPLE -- and then he GRITS his teeth and from some inward
place finds a last reserve of strength and he GRABS:

391 HOLLY'S WRIST 391

and she is YANKED off her feet!

392 BACK TO SCENE 392

Hans goes out the window, pulling Holly with him! McClane
LEAPS forward, catches her inside arm near the elbow at the
last minute!

393 EXT. BUILDING - LONG SHOT 393

The roof still in flames, McClane hangs halfway out of the
window, jagged gla** raking his face, straining to hold onto
Holly as Hans drags her out!

McClane braces himself against the window frame and strains to
pull Holly closer. With a MOAN, she catches the windowsill with
her inside hand. McClane STRETCHES with his other hand, begins
to INCH towards Holly's wristband.

394 HANS' HAND - WIDEN 394

A death grip on the watchband. We WIDEN, SEE that, blood
flecked teeth GRITTING, he is STRAINING with his other hand
to bring up the gun he is still holding!

395 MCCLANE 395

Holly's SCREAM alerts him. Hans locks eyes with McClane one
last time, starts to pull the trigger, as:

396 VERY CLOSE 396

McClane RELEASES the latch on the watchband! The overtaxed
metal SNAPS, links flying:

397 WIDER 397

Hans' face registers his horror as he and most of the watch
suddenly drop.

We LISTEN to his scream all the way down, finally HEAR him HIT.

McClane pulls Holly back into the room and holds her.

MCCLANE
It's okay, babe. It's okay.

He looks down at Hans' body, then back at the scrap of wristband
he's still holding.

MCCLANE
You got a warranty on this?

She laughs through her tears, holds onto him.

DISSOLVE TO:

398 EXT. BUILDING - DAWN 398

Smoke drifts up from what has suddenly become the top floor.
Thornburg's remote truck careens into the parking lot.

399 CLOSER 399

A crowd watches as the front doors of the building open. We
SEE McClane, who holds up Holly and in turn is supported by
SWAT men. As REPORTERS start shouting questions, McClane
breaks free of his entourage, and, holding Holly, pushes into
the crowd.

MCCLANE

Al? Al, you here -- ?

The crowd eddys and surges...suddenly Powell is there, and
McClane knows it's him. They stare at each other, ten feet
apart, and then they're grinning, extending their hands. But
somehow a shake isn't enough, and they're embracing each other
like men who've lived through combat together...which, in fact,
is the truth.

MCCLANE

Al. Man, you were my rock. I
couldn't have made it without you.

POWELL
Bullsh*t.

MCCLANE
I'm serious. Hey, this is my wife...
Holly Gennero.

HOLLY

Holly McClane.

Hearing this, McClane grins, pulls her close. *

POWELL

A pleasure. I guess John doesn't
need me to give you that message
anymore.

HOLLY

Message?

McClane begins to make silent "ixney" gestures in Powell's
direction.

POWELL
You know, about him being such a
j*rk -- and how he's really sor --

-- ee...Uh, I'm sure he'll fill
you in.

Just then Robinson barges forward.

ROBINSON
I want you for debrief, McClane.
You've got some things to answer
for -- Ellis' murder -- property
damage -- interfering with police *
business --

A SCREAM causes McClane to turn.

400 HIS P.O.V. 400

There in the doorway is Karl, clothing and body scorched.
Easily as crusted in dirt and blood as McClane, he holds his
machine gun.

401 EXT. BUILDING 401

As the crowd panics trying to escape, Karl locks eyes with
McClane and levels his gun. McClane throws Holly to the
ground and grabs the dumbstruck Robinson's sidearm.

But he doesn't get off a shot -- a lone gunshot stops Karl --
knocking him back through the doorway. McClane looks back to
see Powell still sighting down the barrel of his .38.

His hand is rock steady. He sees McClane's look.

POWELL

You were right. You couldn't have
made it without me.

They smile. Suddenly McClane and Holly squint as LIGHTS pan
onto them. Thornburg pushes his way forward, mike extended
like a weapon.

THORNBURG
Mr. McClane...Mrs. McClane...any
comment on your incredible ordeal?
What are your feelings now that it's
all over?

Without a beat, Holly PUNCHES HIM in the chops. He FALLS,
dropping the mike with an electronic SQUEAL. McClane looks at
his wife, amazed. Behind them, Thornburg sits on the ground, *
nurses his lip, turns to his camerman.

THORNBURG
*
Did you get that?

McClane and Holly continue on, turn towards: *

402 ARGYLE'S LIMO 402

It's a little smashed up, but still running. Argyle is
standing beside the open door. McClane and Holly get in and
Argyle closes the door.

ARGYLE

If this is their idea of Christmas
I gotta be there for New Year's.

CAMERA ADJUSTS TO SHOW the read window where McClane and
Holly are kissing. As they drive off, we:

FADE OUT

THE END




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