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Die Harder Script

Die Harder Script

Similarly to the first Die Hard script, the script for Die Hard 2 began as a thriller novel, 58 Minutes, by Walter Wager. John McClane replaced another relationship-challenged, east coast cop in Frank Mallone.

After multiple revisions, the 'SHOOTING SCRIPT' below is believed to be the final outcome of the development process. It was produced on November 16, 1989.

The dialogue and action are somewhat different from that which ended up in the film, but follow roughly the same chronology and structure, mixed with some of the original structure of the novel 58 Minutes.

This same version of the script can be read in black-on-white at the internet movie script database here .

Note: No source has been found to verify the authenticity of this version of the script.



                                               DIE HARD 2
                                               Written by
                                            Doug Richardson
                                              Revisions by
                                           Steven E. de Souza
                                                                  SHOOTING SCRIPT
                                                                November 16, 1989
                                   DIE HARD 2
                    WHILE WE'RE IN BLACK we HEAR a PNEUMATIC "KA-CHUNK" and then
                                   MCCLANE'S VOICE
                    Holy shit, whoa, whoa -
                                   FADE IN:
                    1 EXT. DULLES TERMINAL - DAY 1
                    JOHN MCCLANE, long topcoat FLAPPING, comes running out of the
                    terminal towards an AIRPORT COP in plastic covered uniform who is
                    supervising a TOW TRUCK DRIVER who in turn is manhandling a
                    sedate sedan with Virginia plates and a "GRANDMOTHER ON BOARD"
                    sign on the rear window.
                    I'm here, I'm here, false alarm, let's
                    just let her down nice and easy -
                    Sure. At the impound lot.
                    Next time, read the sign.
                    You don't understand, I'm just meeting
                    my wife's-plane - you gotta give me
                    this car back.
                    Sure. Tomorrow 8 to four, you pay
                    40 bucks, we give it back.
                    This is my mother in law's car. She
                    already hates me because I'm not a
                                   DENTIST -
                    See, I'm a cop. LAPD. How about
                    some team spirit?
                    I was in LA once. Hated it.
                                   1 CONTINUED -
                    (going with the flow)
                    I can relate to that. Hate it myself-
                    (turning to tow guy)
                    Hey, that's a plastic fender, Jesus-
                    (back to cop)
                    See, I used to be a New York cop still
                    got my ID somewhere -I only moved
                    'cause my wife got promoted - look,
                    maybe we can settle this right here,
                    we're in Washington, heartbeat of
                    Democracy, one hand washes the other
                    He realizes the truck is DRIVING AWAY one way while the cop is
                    i going off the other way - McClane votes for the cop -
                     Hey, c'mon, it's Christmas -
                    So Ask Santa to bring you another
                    You son of a -
                    BEEP drowns out his last word. McClave sweeps aside his coat,
                    finds the beeper on his belt. He looks at the obviously
                    unfamilar number on the read out in puzzlement, then runs into
                    the terminal.
                    2 INT. DULLES TERMINAL - DAY 2
                    CHRISTMAS MUSIC wafting through the building from a SCHOOL CHOIR
                    perched in front of a massive, three-story window. Blase
                    travelers PAUSE in their hectic rush to applaud the angelic
                    McClane shoves his way through some people - when they GLARE at
                    him he quickly APPLAUDS the kids, pulls up at an INFORMATION
                    BOOTH - the girl there is watching a LITTLE TV on the shelf out
                    of sight from the public.
                    MCCLANE 1ST NEWSCASTER
                    Telephones? (on TV)
                     .and that White Christmas
                    INFORMATION GIRL may be here for a while, if
                    (pointing) that new storm front moves
                    Right over there. to the Metro area this
                     afternoon as predicted.
                    McClane nods, serves across the slick linoleum.
                                   2 CONTINUED - 2
                    1ST NEWSCASTER(cont'd)
                    Correspondent Leonard Adkins is in
                    a warmer clime, with a story that
                    grows hotter by the minute.
                    2A WITH MCCLANE 2A
                    he fairly SKIDS to a halt at a line of PHONE BOOTHS - and outside
                    each booth a long LINE of people with their armfuls of luggage
                    and gifts.
                    McClane's BEEPER goes off again.
                    Ho - ho - ho...
                                   3 3
                    thru OMITTED thru
                                   4 4
                                   CUT TO:
                    A plane TAKES OFF. We PULL BACK and realize we're in a MOTEL
                    ROOM. The TV is on and we SEE the TV PICTURE CHANGE to a
                    TROPICAL AIRFIELD. Khaki-clad heavily armed SOLDIERS form a
                    cordon as a stiff-backed handsome MAN of 60 in handcuffs and leg
                    chains is hustled aboard a plane.
                                   2ND NEWSCASTER
                    Security was tight today at Escalon
                    airport in the Republic of Val Verde,
                    where government authorities escorted
                    General Ramon Esperanza to the
                    military transport that will bring
                    him to the United States to stand
                    trial for narcotics trafficking.
                    A HAND thrusts in front of the CAMERA - FINGERS clenching and
                    curling oddly.
                                   6 WIDER 6
                    A half naked MAN is doing Tai Ch'i EXERCISES. This is COLONEL
                    WILLIAM STUART, U.S.A. (Ret.) His body is hard, with SCARS from
                    knives and bullets.
                    On the TV, the words "FILE TAPE" blink under Esperanza's IMAGE,.
                    here resplendent in a Latin American uniform, reviewing troops in
                    the field and then moving to a table under a tarp to sign
                    documents with American military officers. He hands a COLONEL the
                    pen just used on the document - a souvenir.
                                   6 CONTINUED - 6
                    Only two years ago the controversial
                    General lead his country's Army in
                    its campaign against Communists
                    insurgents - a campaign fought with
                    American money and advisors.
                    Esperanza's fall from power caused
                    ripples not only in his country'.s
                    recent election, but closer to home
                    I as well...
                    we just.saw exits a Federal building with some JUNIOR OFFICERS
                    and attorneys - avoids reporters.
                    .when high ranking Pentagon
                    officials were chargedwith supplying
                    I him with weapons despite the
                    congressional ban.
                    The exercises finished, Stuart FREEZES in an eerie pose, until
                    7 HIS HUER CHRONOMETER
                    BEEPS an alarm -
                    8 BACK TO SCENE 8
                    The man uncoils. Composes himself. Goes to the closet.
                    But mounting evidence that Esperanza's
                    forces violated the neutrality of
                    neighboring countries made Congress
                    withhold funds-funds which Esperanza
                    I s accused of replacing by going into
                    the'lucrative business of cocaine
                    ,.One topcoat, one suit there, shirt and tie laid out like a
                    costume not usually worn. On the shelf above, one PACKAGE in
                    Stewart puts on the shirt. In the pocket is a PEN - the same pen
                    we just saw on TV. If we haven't realized it yet, we realize it
                    now; t s is the same man.91
                    Suddenly Stuart WHIRLS like a GUNFIGHTER. But all he's got in
                    his hand is the remote control, snatched from the nightstand.
                                   9 TV 9
                                   9 CONTINUED - 9
                    It clicks OFF -
                                   CUT TO:
                    10 INT. AIRPORT MOTEL - CORRIDOR - DAY 10
                    CLOSE on the hallway door as Stuart COMES OUT, the package in
                    i his hand, the Huer ticking away. We WIDEN, TRUCK with him as
                    he moves down the corridor.
                    And now we SEE THEM - ten more TALL, HARD men, all coming into
                    the hallway from their adjoining rooms within seconds of each
                    other, all carrying SIMILAR GIFT WRAPPED PACKAGES.
                    They get into two adjoining. elevators, the stark LIGHTS above
                    their heads and their unmoving expressions making them look like
                    Aliens ready to beam up. As the doors CLOSE we
                                   CUT TO:
                    11 INT. TERMINAL - DAY 11
                     McClane SQUEEZES past an enormous WOMAN exiting a phone booth
                     with a PRESENT as big as she is. Catching his breath, he drops
                     his quarter, dials.
                                   12 12
                    aru OMITTED thru
                                   13 13
                                   CUT TO:
                    14 INT. A JETLINER - INTERCUT 14
                    HOLLY MCCLANE is here, AirPhone at her ear and a beautiful
                    SUNSET over the plane's wing visible through the nearby window.
                    With the Compaq portable computer, filofax and calculator piled
                    on it, Holly'.s seat back table looks like a traveling office.
                    Hello. This is Lieutenant McClane
                    - Somebody there beep me?
                    I'd like to think I'm somebody.
                    Holly! Did you land?
                    John, wake up. It's the nineties.
                    Microchips, microwaves, faxes and
                    As far as I'm concerned, progress
                    peaked with the frozen pizza.
                                   14 CONTINUED - 14
                    We're going to land about thirty
                    minutes late, I wanted you to know.
                    Kids okay?
                    Just speeding on sugar, thanks to
                    your parents. I really appreciate
                    you coming a day late, honey. Nothing
                    I like better than a weekend with
                    the Munsters.
                    Mom give you any trouble about
                    borrowing her new car?
                    No... not yet. Uh...how 'bout if
                    when you land, we don't drive over
                    the river and through the woods to
                    Grandma's house, but check into the
                    Airport motel?
                    You're on, Lieutenant.
                    They both hang up. The OLDER WOMAN beside Holly smiles at her.
                                   OLDER WOMAN
                    Isn't technology wonderful?
                    My husband doesn't think so.
                                   OLDER WOMAN
                    Well, I do. I used to carry around
                    those awful mace things -
                    She opens her purse and displays a Taser stun gun.
                    OLDER WOMAN(cont'd)
                                   (SHOWING IT)
                    Now I zap any bastard who screws with
                    me. I tried it on my little dog,
                    poor thing, limped for a week.
                    As Holly tries to smile politely, we
                                   CUT TO:
                                   15 MCCLANE 15
                    Coming out of the phone booth and almost COLLIDING with -
                                   16 NEW ANGLE 16
                     Colonel Stuart.
                    Excuse me -
                    Pause as they dance away from each other. Then -
                                   I MCCLANE
                    --do I know you?
                                   R (TIGHTLY)
                    I... get that a lot. I've... been
                    on TV.
                    You and me both, pal. The hell with
                    Now it's Stuart's turn to look at McClane oddly; then he moves
                    off. McClane looks after him, trying to place him... shrugs...
                    heads for the bar.
                                   CUT TO:
                    Charming until the SUB WOOFER ROAR of a big jet SCREAMS by,
                    practically in the little church's backyard.
                    Now we notice that the church is a little run down - trim needing
                    paint, sidewalk cracked - and a neat SIGN confirms our
                    WORSHIP WITH US AT OUR NEW CHURCH,
                    A DWP VAN pulls up, snow tires CRUNCHING on the driveway here.
                    Two MEN (BAKER and THOMPSON) get out in official DWP wardrobe.
                    But we remember the trim bodies, trimmer hair... and we remember
                    those gift wrapped packages, - which one of these guys carries.
                    18 INSIDE THE CHURCH 18
                    On a TV here, the newscast CONTINUES, now back to the tropical
                    airport. Esperanza is at the top of the steps, waving to the
                    press like a triumphant hero - not a felon en route to prison.
                    The plane doors close and it taxis down the runway.
                    WIDEN from the set, which an elderly CUSTODIAN is watching while
                    he eats some instant soup. The DOORBELL RINGS. The custodian
                    answers it.
                                   18 CONTINUED - 18
                                    CUSTODIAN NEWSCASTER'
                    Yes? (on TV)
                     Although Esperanza was
                     BAKER removed as Commander in
                     Sorry to bother you, sir. Chief earlier this year,
                     We're checking our equipment. the agreement to extradite
                     Any problems with the conduit him was not reached until
                     box in your backyard? yesterday - and Washington
                     insiders say it was a phone
                     CUSTODIAN call that made it happen -
                     Gee, I don't know anything a phone call from an
                     about that. angry American President.
                    Baker and Thompson glance at each other.
                    Would you mind if we take a look?
                    Help yourself.
                    18A WIDER 18A
                    The three men walk down the main aisle of the church. Dust motes
                    dance in the colored light.
                    Don't seem right, somehow, closing
                    a church down. Oh, I know the parish
                    is gonna keep using it, but it won't
                    be the same. Been here a lot of
                    years; and I been right here with
                    They've arrived at a rear window. FOCUS CHANGE to a green
                    CONDUIT BOX on the the church's rear lawn, half covered in snow.
                    FOCUS back through the glass. Thompson looks questioningly at
                    Baker, who nods.
                    Yep. I kinda feel a part of me is
                    dying along with this church.
                    Well, you're right about that.
                    BLAM BLAM GLAM. BULLETS RIP through the end of the Christmas
                    package, SLAM the custodian up and into a row of pews, which
                                   19 NEW ANGLE 19
                    { Baker rips the rest of the smoking package away from his weapon,
                    s 1i s it over his shoulder and begins to SHOVE the pews aside to
                    make a larger open area.
                    Thompson, meanwhile, takes out a very futuristic transceiver.
                    He turns it ON; getting a RED light; enters a NUMBER CODE on the
                    keypad and gets a GREEN LIGHT. There's an EERIE QUALITY to the
                    This is team one. We're here.
                    This is Leonard Adkins, in Val Verde
                    - where the war on drugs has finally
                    taken its first prisoner.
                    With an annoyed expression, Thompson CLICKS OFF the newscast.
                                   CUT TO:
                    EXT. AIRPORT - SERVICE AREA - DAY 20
                    Two PAINTERS pull up in a van. Move around the back and start to
                    pull out ladders and cans.
                                   FIRST PAINTER
                    Busting our asses Christmas week like
                    they're gonna land extra planes if
                    we finish -
                    Suddenly two MEN O'REILLY and SH DON) are there.
                    Need something?
                    BAM! BAM! Both painters are SHOT.
                    Quickly, the two men toss their bodies into the rear, get into
                    the van... and BACK IT INTO the airport garage.
                    O'Reilly enters a NUMBER CODE into a transceiver-
                    into radio, as iffey
                    Team Two. In position.
                                   CUT TO:
                    EXT. SECLUDED VIRGINIA ROAD - DAY 21
                    a CYCLONE FENCE and a MICROWAVE DOME fenced in with a sign:
                    _BURKE and KAHN - two more of those CLEAN CUT MEN are here, just
                    now parking and going to the rear of their rented station wagon.
                    Quickly, they OPEN the trunk - slide, out a long OLIVE DRAB TUBE
                    and a TRIPOD.
                    21A CLOSER 21A
                    Kahn KICKS spikes on the tripod into the frozen around to anchor
                    it - TILT UP as a SNAPS the tube ON TOP of it, SWINGS IT
                    AROUND towards the installation -- when
                                   POLICEMAN'S VOICE
                    Hey, you!
                    22 A POLICE CAR 22
                     Has pulled over across the road. Both OFFICERS get out.
                    } (cocking a SHOTGUN)
                     This is .a restricted area! Mind
                     telling us what you're doing?
                    23 ON THE MEN 23
                     A quick look between them... and then .SWIVELS the-long
                    FIRING, the two men tube around! With Kahn LOADING and VjMELN
                    LAUNCH a MISSILE at the police car!
                    23A THE POLICE CAR 23A
                    EXPLODES, the two cops halfway out swallowed up in the
                    23B BACK TO SCENE 23B
                    As the cop car BURNS, the two men turn, pivot the weapon back
                    towards the transmitter. FIRE. The missile trail arcs neatly
                    over the fence, lands on target -
                                   24 THE TRANSMITTER 24
                                   EXPLODES -
                                   CUT TO:
                    25 INT. DULLES TOWER - "THE CAB" - DAY 25
                    The top of the Tower, it's the heart, soul, brain of Dulles.
                    We HEAR snatches of AIR TRAFFIC CONTROL as the CAMERA PANS the
                    big room. We SEE PLANES outside, the airport LIGHTS already
                    on against the grey of the snow. It's damn impressive.
                                   25 CONTINUED - 25
                    0' CAMERA SETTLES on TRUDEAU. Chief Air Traffic controller, he's
                    lived through hijackings, the Olympics, Reagan's mass firings
                    -and he's still going (heart bypass notwithstanding.) Chief
                    engineer BARNES is as good as a right ventricle, anyway.
                    An ALARM RINGS.
                                   26 TRUDEAU 26
                    lighting a cigarette, he hovers over BARNES.
                    We just lost FAA approach control.
                    Weather may have screwed up the line.
                    Switch over to our own back up and
                    run a check.
                    Barnes hits a switch. The ALARM STOPS. Everyone relaxes.
                                   CUT TO:
                    27 INT. AIRPORT BAR - NIGHT 27
                    WIDEN from McClane at the bar, his coat on a stool beside him.
                    He's on his second scotch. On the BAR TV, we SEE SAMANTHA
                    ("SAM") COPELAND, a reporter with "live" super'd over her body.
                    She is clearly somewhere inside this airport
                                   (ON TV)
                    --here at Dulles, the quiet men from
                    the Justice Department wait to put
                    handcuffs on the man who has come
                    to symbolize the enemy in America's
                    fight against cocaine... This battle
                    may be almost won... but the war
                    is still in doubt. Samantha
                    Copeland... . WNTW for NightTime News.
                    CAMERA ADJUSTS to.show a MAN as he OPENS a PHONE BOOTH. It's
                    very quick, but we REALIZE that while in there he. wasn't using
                    the phone but one of the transceivers we saw before.
                    This is MAJOR GARBER, Stuart's second-in-command; but his
                    efficiency and chilly courage are second to none. CAMERA FOLLOWS
                    HIM to a TABLE.
                    C OC HRANE and MILLER - TWO MORE of those neat, trim young men-are
                     there, in neat_,--Eo'ring topcoats.
                                   27 CONTINUED - 27
                    That was the Colonel: All perimeter
                    teams are in place.
                                   (TO COCHRANE)
                    'Cochrane covers one ear and we SEE that he has a RADIO EARPLUG.
                    other. He listens intently, then GRINS.
                                   ' OCH
                    Flurries all along h e Virginia
                    Coast... new storm moving in from
                    the Northeast.
                    (sharing the smile)
                    God loves the Infantry.
                                   (SMILE GONE)
                    Carry out your assignment. We'll
                    regroup at field HQ.
                    (setting his watch)
                    Three fifty one... Mark.
                    They syncronize their watches, and then Mi l1e leaves the bar.
                    CAMERA PANS HIM out. He walks right past McClane, who doesn't
                    notice him.
                    A beat after Mil ergs exit, two AIRPORT COPS in snow-flecked
                    JACKETS come into the bar. Seeing, them, the bartender is
                    already pouring coffee for them. But-
                    28 GARBER AND COCHRANE 28
                    also see the cops - and very casually, Cochrane ulls the earplug
                    from his ear. Equally casually, Garber Vs-Wed-If-is- foot to slide
                    the two long Christmas package at his feet under the table.
                    29 ON MCCLANE - CAMERA PUSH 29
                     This gets his attention. His eyes narrow. He looks from the two
                     or d inary looking men towards the Airport cops, wonders why they
                     got fidgety. Now he watches
                    30 GARBER & Q HRANE 30
                    who looks at his watch, signals Cochrane. Both rise. But as
                    Cochrane bends to pick up his wrapped package... and as he moves,
                    something dangles inside his jacket. Is it a holster?
                                   31 MCCLANE 31
                    turns to watch them exit, sees them SPLIT up outside the bar.
                    Quickly, McClane goes over to the Airport cops.
                                   31 CONTINUED - 31
                    Excuse me, officers. This may be
                    a total wild goose chase, but I think
                    I just saw -
                    He STOPS. CAMERA ADJUSTS. The cop he's talking to is the
                    asshole who towed away the car.
                                   AIRPORT COP
                    Saw what?
                    McClane turns, throws money near his glass and quickly exits the
                                   CUT TO:
                    32 INT. TERMINAL - WITH THE MEDIA 32
                     trying to get the half dozen UNIFORMED US MARSHALS or the three
                     JUSTICE DEPARTMENT LAWYERS to talk to them - without success.
                     But one reporter - Sam - NOTICES -
                    33 STUART - MOVING THROUGH AIRPORT -HER POV' 33
                    I as she watches, Garber joins him -
                    34 BACK TO SCENE 34
                    (nudging her cameraman)
                    Hey. Colonel Stuart.
                    Old news.
                    Better than these loxes.
                    Very quietly, Sam and the cameraman do their best to slip away
                    from the pack.
                    Everything on schedule?
                    Tapping airport phones right now.
                    Got a slight problem with personnel:
                    Last minute replacement. What's the
                    status of the security here?
                                   35 CONTINUED - 35
                    (nodding towards the
                                   JUSTICE PEOPLE)
                    Like we figured. A joke -
                    But suddenly both men are in the GLARE of a portable light.
                    Colonel Stuart! Can we have a few
                    words with you?
                    You can have two: "Fuck" and "you".
                    And the interview is over and he's out the door.
                                   CUT TO:
                    36 INT. TERMINAL - ESCALATORS - NIGHT 36
                    McClane's head panning the holiday crowd - then SEEING Cochrane.
                    Quickly, he FOLLOWS Cochrane downwards - into
                                   37 LUGGAGE AREA 37
                    where a TOURIST JUNKET gets between McClane and his quarry-
                    38 C9CC $ANE 38
                    a GLIMPSE of him at a door marked "NO ADMITTANCE" - then he's
                    gone. McClane runs up, too late; the door is shut again.
                    He looks around, sees a LUGGAGE WORKER, flashes his badge.
                    Open this.
                    (as the guy obeys)
                    Got a cop on duty around here?
                                   LUGGAGE GUY
                    Airport police -
                                   (SCOWLS; THEN;)
                    Get 'em.
                    39 INT. LUGGAGE CONVEYOR AREA - DAY 39
                    Dark. Clatters and bumps, machine sounds... more bumps. McClane
                    moves cautiously along. He JUMPS as a large SHADOW moves
                    nearby, but it's a big CASE on a conveyor belt.
                    Now, he stoops to go under another conveyor belt - the different
                    tracks intersect and pass each other like freeway off-ramps
                    discharging luggage from one to another - and then he SEES -
                    39A COCHRANE AND MILLER 39A
                    One has his jacket off, and just now dusts off his hands like
                    a man finishing a job.
                    The other one has one of those transceivers.
                                   MCCLANE'S VOICE
                    Excuse me.
                                   41 NEW ANGLE 41
                    They turn, see McClane with his badge in his left hand - his
                    right hidden under the long coat which is draped over his
                    shoulder like Clint Eastwood's serape in a Spaghetti Western.
                    This is a restricted area. You boys
                    too impatient to wait for the skycaps?
                    We... work for th amine.
                    Yeah? Let's see some ID -
                    Instantly both men DIVE to the outside, drawing guns.
                                   42 THE TRANSCEIVER 42
                    Falls, skids... somewhere.
                    43 BACK TO SCENE 43
                    Dropping his'wallet, McClane JUMPS aside as SHOTS WHIZZ PAST
                    -McClane's COAT takes the BULLET HITS in MID AIR as he LANDS
                    on a conveyor belt, which CARRIES him UP and OVER the gunmen.
                    They FIRE UP at him - He aims.back - and then a SUITCASE falling
                    from another belt and knocks his gun away!
                                   44 BELOW 44
                    The gun CLATTERS on the floor. Seeing it, the two men exchange a
                    glance - split up.
                                   45 MCCLANE 45
                    Drops from the belt, crouches near big gears. Desperate, he
                    looks around for a weapon, anything. Then he notices all the
                    luggage going past: Suitcases, camera cases, a bicycle... Skis.
                                   46 MILLER 46
                    Moving forward expertly, gun ready. WHAP! A SKI POLE smacks
                    down on his wrist! The gun DROPS onto a conveyor belt, FIRES -
                    then moves away, obscured by moving luggage.
                                   46 CONTINUED - 46
                    J McClane steps in, punches Miller - gets HIT hard himself -both
                    ROLL OVER onto the new belt.
                                   47 COCHRANE 47
                    Hearing the SHOT, he tries to pinpoint the location - but with
                    all the echoes - it's hard.
                    48 MCCLANE AND MIL 48
                    Fighting hand to hand. Miller starts pressing the ski pole
                    against McClane's throat:-Pt=lane tries to do the same thine
                    back - they spin, SMASH into a pile of suitcases, some of which
                    SPILL OPEN.
                    M J er gets in a powerful punch, gets free - CAMERA FOLLOWS
                    Miller as his hand gropes for the pistol.- and then McClane
                    rIT into view with fucking HAIRSPRAY right in the guy's eyes!
                    Miller HOWLS, blinded - but then - BLAM! A BULLET EXPLODES
                    tcan in McClane's hand!
                                   49 NEW ANGLE 49
                    Cochrane is there! McClane LEAPS like Tarzan to the BOTTOM of
                    the i , empty "return" belt - the momentum swings him right
                    towards Cochrane, who FIRES once more before McClane's KICK
                    nearly toc e stf'his head - he loses the gun, but Jesus, these
                    guys are tough and now Cochrane LEAPS UP and grabs McClane's
                    belt and clothes and they're both hanging -suddenly they're both
                    too damn high to get off!
                                   50 MCCLANE 50
                    Half on the belt, half off, he fends off the other man and SEES-
                                   51 UP AHEAD 51
                    The belt goes through a hatchway - a hatchway with virtually no
                    52 BACK TO SCENE 52
                    McClane PUNCHES Cochrane - again, again - but the guy's gonna
                    kill them both one way or the other - McClane KICKS him, again,
                    again - finally his grip loosens - at the last minute McClane
                    JUMPS to a thick conduit - and then Cochrane gets JAMMED
                    53 INTO THE HATCH HEADFIRST. 53
                    54 NEW ANGLE - 20 FEET UP 54
                    The conduit BREAKS FREE from its molly bolts, but doesn't drop
                    -and three feet away the guy SCREAMS and then his neck SNAPS and
                    his body TWITCHES AND JERKS and the machinery JAMS, smoking-
                                   55 MCCLANE 55
                    WINCES as blood SPLATTERS - and then REACTS as the 20 foot tall
                    conduit pipe CREAKS, BENDS-TOPPLES- he RIDES IT DOWN-
                                   CUT TO:
                    56 INT. LUGGAGE CONVEYOR AREA - NEAR ENTRANCE 56
                    led bjthe luggage guy, two AIRPORT COPS run in -
                                   57 LLERÏ¿½ 57
                    panting for breath, rubbing his eyes, he sees their approach,
                    starts to run. He races down a long aisle past cartons of
                    freight... starts to smile - there's a door just ahead - he's
                    gonna make it -he's gonna make it - suddenly a CHING CHING SOUND
                    makes him turn -it's the CHING CHING OF -
                                   58 A BICYCLE 58
                     - with John McClane on the back. McClane dives out of the saddle
                     like the Lone Ranger, takes Miller down. (X)
                    59 ON THE FLOOR 59
                    As the bicycle FLIPS OVER, McClane gets to his feet first and
                    finds a gun in his face -
                     2ND AIRPORT POLICEMAN (X)
                    And in that instant (you guessed it): (Miller_F)SCAPES. (X)
                     Brilliant, asshole. I'm a cop -that
                     was the bad guy! '(X)
                     2ND AIRPORT POLICEMAN (X)
                    Yeah? Where's your I.D.?
                    McClane.starts to reach into his jacket - remembers. He looks
                    around the huge room and its clanking conveyor belts.
                                    CUT TO:
                    60 INT. HOLLY'S PLANE - IN FLIGHT 60
                     Holly's working away on her laptop computer when: (X)
                                   60 CONTINUED - 60
                                   THORNBERG'S VOICE
                    - no, you did not explain anything
                    - all you did was shove me a- -here
                    in this cattle car -
                                   STEWARDESS' VOICE
                    - Sir, you were told when you boarded
                    that we were overbooked -
                    Holly looks up idlely - and then REACTS as she sees -
                    61 DICK THORNBERG - HER POV 61
                    Her nemesis from 20 months ago, here waving, his ticket and
                    fending off the Stewardess' friendly hands.
                    Fine. Done, I accept it. But why
                    the hell can't I get the First Class
                    Meal--my-Network paid for instead of
                    this swill?
                    I'm sorry, sir, I can't do that now
                    - If you'll just sit down - ?
                    Do youknow who I am?
                    Yes. We've all seen your program.
                    Your episode "Flying junkyards" was
                    a very objective look at air safety.
                                   2ND STEWARDESS
                    It wasn't nearly.as edifying as
                    "Bimbos of the Sky", was it, Connie?
                    You think you're funny?
                    (looking at,her nametag)
                    'I've got your number
                                   2ND STEWARDESS
                    (pushing him in seat) (X)
                    And I've got yours - so park it, pal!
                                   62 NEW ANGLE 62
                     Thornberg simmers - and then he SEES HOLLY. FOCUS CHANGE.
                                   62 CONTINUED - 62
                    Mister Thornberg - you cannot
                    monopolize my -
                    You cannot put me near that woman.
                    Excuse me?
                    CAMERA ADJUSTS to feature Holly - and the Stewardess' growing
                    fascination with her.
                    He.means he has filed a restraining
                    order against me. I'm not allowed
                    within fifty feet of him -
                                   FIFTY YARDS
                    - (to Stew ardess)
                    And by seating me here you're
                    violating a court order - I could
                    sue you and this airline - this woman
                    has assaulted me and besmirched my
                                   REPUTATION -
                    (kneeling, sotto)?
                     What'd you do?
                     I knocked out two of his teeth.
                     Would you like some champagne?
                                    CUT TO:
                    63 THE GUNMAN'S BODY 63
                    as it is ZIPPED into a body bag, our view of the mangled head and
                    shoulders mercifully brief. The body is set on a gurney. We
                    WIDEN and see Airport police and coroner's people about to make
                    off with it... and the MEDIA, now drooling over this new story
                    dropped right into their laps. As FLASHBULBS POP and CAMERAS
                    ROLL, Sam NOTICES -
                                   64 MCCLANE 64
                    One of the cops hands McClane his wallet. As he pockets it,
                    he notes the CROWD milling about the luggage area.
                    -,� 64 CONTINUED - 64
                    Whoa, wait a second. This is a crime
                    scene. Aren't you going to seal off
                    this area?
                    2ND AIRPORT COP
                    That's up to the Captain.
                    Up to the Captain? Take me up to
                    the Captain, too.
                                   CUT TO:
                    65 INT. VIRGINIA CHURCH - DAY 65
                    BAKER guards the rear door with an ASSAULT RIFLE. He REACTS,
                    tense as a FIGURE appears, running up from the snowy expanse
                    behind the church. It's 'filer- the man who escaped from
                    McClane. Baker waves him in.
                     KAHN and B� are DIGGING in theme y rd with pickaxes and hardly
                     0o at him. �
                                   66 INSIDE 66
                    Stuart's poring over MAPS of the airport. He looks up,
                    nonplussed; wipes away SNOW that falls from Mi� 1 's shoulder to
                    the table top.
                    You're late.
                    We ran into trouble; a policeman.
                    He killed Cochrane; I barely got
                    Did you finish your assignment?
                    Yessir. But -
                    Then the damage is minor.
                    (drawing a PISTOL)
                    But the penalty could be severe.
                    In a blur of motion, Stuart is on his feet, the pistol is at
                    Miller's temple. CLICK.
                                   66 CONTINUED - 66
                    (as Mil a SHUDDERS)
                    Fail me again and it won't be an empty
                    chamber. Dismissed.
                                   CUT TO:
                    67 INT. AIRPORT POLICE OFFICE--DAY 67
                    McClane comes in, first double taking the name on the door:
                    The man himself - a 20 year veteran of bureaucratic wars that
                    have earned him this little kingdom - rises behind his desk.
                                   YOU -
                    (a glance at a FAX)
                    Captain Lorenzo.
                                   (SHOWING BADGE)
                    I'm the one who -
                    Yeah, I know. You think that LA
                    badge is gonna get you a free lunch (X)
                    or something down here?
                    No. Just a little professional
                    In an airport Christmas week? You
                    gotta be kidding.
                    Okay. Forget the courtesy. How about
                    lust the professional? Your boys
                    dust walked away from a crime scene
                    - you need to seal it off, get a
                    forensics team in, dust it, shoot
                    And what do we do with all the luggage
                    for all the airplanes while we play
                    Charlie Chan?
                                   67 CONTINUED - 67
                    You store them somewhere -
                    Oh. And meanwhile every hour a few
                    more thousand people come and they
                    want to put their luggage on
                    airplanes, so we store them and their
                    luggage in some other "somewhere"?
                    Hell, why don't we shut down the whole
                    fucking airport? Whaddya think they'll
                    say upstairs when I tell them that?
                    Why don't you try it and find out?
                                   F LORENZO
                    Because I don't need a forensics
                    investigation to file away some punk
                    stealing luggage -
                    Luggage? That "punk" pulled a Glock
                    Seven on me. Know what that is?
                    A porcelain gun from Germany. It
                    doesn't show up on airport x-ray
                    machines... and it costs more than
                    you earn in a month.
                    You'd be surprised what I earn in
                    a month.
                    If it's more than a dollar eighty
                    nine, yeah -
                    McClane, don't start believing your
                    .own press.
                    (on McClane's look,
                    waving the FAX) (X)
                    Yeah, I know who you are, that
                    Nakatomi thing in LA. Just 'cause
                    the TV thought you were hot shit don't
                    make it so. This time you're in my
                    little pond, and I'm the big fish
                    that runs it. Now you capped some
                    lowlife, fine. I'll send your fucking
                    Captain in L.A. a fucking
                    He hits a BUZZER. Immediately two burly AIRPORT COPS appear in
                    the doorway.
                    F� 67 CONTINUED - (2) 67
                    Now get the hell out of my office
                    before I have you thrown out of my
                    McClane moves towards the door, his hands waving off the would be
                    (turning at the door)
                    One question, Carmine: Which sets
                    off the metal detectors first: The
                    shit in your brains, or the lead in
                    your ass?
                    68 EXT. AIRPORT POLICE OFFICE - DAY 68
                    McClane comes out of Lorenzo's office, steaming. He walks down
                    the corridor - looks back at one of the stocky Airport cops
                    -fakes a smile - when the guy turns away McClane punches the
                    Then a CLATTER announces the PASSAGE of the morgue guys, the BODY
                    on their gurney. McClane moves aside, watches them, thinking...
                    getting an idea.
                                   CUT TO:
                    69 A RENT A CAR DESK 69
                    the girl here lost in a romance novel-
                    Excuse me.
                    He reaches over, gently takes typing paper and a stamp pad.
                                   (TOO LATE)
                                   70 PARKING GARAGE 70
                    McClane catches up to the morgue guys as they reach their wagon.
                    Whoa, guys.
                    (ver quickly showing
                                   HIS BADGE)
                    Gotta check something.
                    Before they can react, he's UNZIPPED the bag, yanked out the
                    guy's right hand.
                                   CONTINUED - 70
                                   MORGUE WORKER
                    What're you doing?
                    (inking the guy's fingers)
                    Didn't you ever have an airport stiff
                    before? We need an FAA ID on your
                    He presses the fingers against the paper, checks them. (The hand
                    he's released remains straight up.)
                    Yup, he's dead,. all right. Thanks.
                    And he's gone as they look after him, puzzled.
                                   CUT TO:
                    cruising along, its FIGHTER ESCORT a few wingtips away. Now, the
                    fighter WAGS ITS WINGS and PEELS AWAY.
                    72 INT. MILITARY TRANSPORT - NIGHT 72
                    CAMERA MOVES from the cockpit back through the rest of the plane.
                    Ay, Alle va nos escorto.
                    Es bueno; el peligro es pasado.
                    Estamos segur hasta los Estados
                    Unidos. Cuanto tiempo?
                                   (CHECKING WATCH)
                    Tres horas y media.
                    By now we are on Esperanza. Looking astonishingly carefree, (X)
                    he smiles at the young CORPORAL guarding him, puffs on a cigar... (X)
                    and casually examines the military chronometer on his handcuffed (X)
                    wrist. We PUSH IN on it. (X)
                                   CUT TO:
                    73 INT. VIRGINIA CHURCH 73
                    WIDEN from Stuart's Huer, showing the exact same time. Now we
                    SEE that the church is full of ELECTRONIC EQUIPMENT: In fact,
                    it looks very much like a mini-version of an airport control
                    tower, complete with radar screens and a big glass board to mark
                    positions on.
                                   CONTINUED - 73
                    CAMERA follows a MAN with a Pizza sized RADAR DISH as he crosses
                    the room, a CRONY unrolling WIRE behind him.
                    CRANE UP as the man CLIMBS into the STEEPLE... UP, UP, UP, until
                    he's in the BELFRY where a PRERIGGED TRIPOD WAITS for the dish.
                    As he CLAMPS it in place we SEE the yard behind the church and
                    the SPARKLE of WELDING TOOLS; someone is making CONNECTIONS
                    to the now open conduit box and underground CABLES.
                                   CUT TO:
                    74 INT. TERMINAL - RENT A CAR COUNTER 74
                    Excuse me, honey - can I borrow your
                    office for a minute?
                    Before she can answer, he's over the counter and reaching for her
                                   CUT TO:
                    75 INT. LAPD OFFICE - NIGHT 75
                    The office he's in shows us that AL POWELL has moved up in the
                    world - and Twinkies have move up along with him.
                    (swallowing, answering
                     Records. Sgt. Powell -
                    76 MCCLANE - AT RENT A CAR COUNTER - INTERCUT 76
                    Hey, partner. Get that twinky out
                    of your mouth and grab a pencil.
                    John, how you doing? How's the
                    vacaction treating you?
                    Vacation? Holly stood me up for a
                    last minute meeting. I'm alone in
                    DC with the in-laws.
                    Ah, the in-laws. They love their
                    policemen son-in-laws, don't they?
                                   76 CONTINUED - 76
                     R' ht. Listen, Al, what's our FAX
                     n u mber in the station there?
                    550-3212. This is a first.
                    Yeah, well my wife's company makes
                    'em, I figure it's time to get one
                    of them pregnant.
                    (aside to girl)
                    This way?
                    This way.
                    The FAX starts to leave McClane - voila, it's already arriving at
                    Powell's office.
                    (as it arrives)
                    From a stiff down here at Dulles.
                    I marked the whorls with a pen in
                    case the transmission's fuzzy. Can
                    you run that through State and Federal
                    for me - throw in Interpol if you
                    got it.
                                   (WATCHING IT)
                    Will do. What's this about?
                    I don't know. Just a feeling.
                    Ouch. You get those feelings
                    insurance companies start to go
                    The FAX number is uh -
                    -on the top edge of the transmission
                    he just got -
                    -on the top edge of your transmission.
                                   76 CONTINUED - (2) 76
                    Airport, huh? You're not pissing
                    in somebody's little pool, are you?
                    Break out the chlorine.
                                   CUT TO:
                    77 INT. HOLLY'S PLANE 77
                     The nice stewardess comes over to Holly, takes her glass.
                     Need another?
                    I don't think so.
                                   (INDICATING THORNBERG)
                    I only have to look at his face for
                    fifteen more minutes.
                                   CAPTAIN'S VOICE
                                   (OVER PA)
                    Ladies and Gentlemen, I've just been
                    informed by Dulles traffic control
                    that a new weather front is moving
                    in ahead of us. We may be up here
                    for a little while longer...
                    GROANS. COMPLAINTS. Holly holds out her glass.
                     Yes. Another.
                                    CUT TO:
                    78 INT. RENT ACAR BOOTH 78
                    McClane paces, smoking. RRING. Both the FAX machine and the
                    telephone light up. McClane beats her to it.
                    79 POWELL - IN HIS OFFICE - INTERCUT 79
                    Right here, partner. Your stiff's
                    dossier is coming through right now.
                    What can you tell me?
                                   79 CONTINUED - 79
                    He's dead.
                    You needed a computer for that?
                    No, you don't follow me. According
                    to the Department of Defense, he's
                    been dead for 2 years.
                    Yup. S/Sgt. Oswald Cochrane.
                    American advisor in Honduras, killed
                    in helicopter accident 5/11/88.
                    (reading the page)
                    Read between the lines of his military
                    record and it looks like a lot of
                    black bag stuff.
                    Yeah, I see it. Thanks a lot, Al.
                    I owe you.
                    He hangs up. The girl gives him the eye.
                    Say, I close in an hour... maybe we
                    (showing his wedding ring)
                    Just the FAX,, ma'am. Just the FAX.
                    80 EXT. RENT A CAR AREA 80
                    McClane comes out, deep in thought - gets on an walkway.
                    Suddenly the CLICK of HEELS makes him turn.
                    Sam Coleman is trotting down the linoleum next to the walkway,
                    trying to keep up with him.
                    The Ghost of Christmas Past.
                    Nakatomi? LA? You're John McClane,
                    Depends who you are.
                                   80 CONTINUED - 80
                    Sam Coleman, WADC news -
                    (as McClane REACTS)
                    Hey, I know how you feel about the
                    media, but we're not all like that
                    putz Thornberg - he crossed the line.
                    That's why they canned him out in
                    Yeah. Now he's on the Network
                    interviewing Transsexual Gum Surgeons
                    and laughing all the way to the bank.
                    Okay. The guy makes Geraldo look
                    like Walter Chronkite. Doesn't mean
                    you can't cut me some slack. I saw
                    the stiff. Word is that was your
                    Nah. I do needlepoint.
                    And he's at the end of the walkway and he quickly disappears
                    into the crowd, leaving Sam pissed, puzzled... and out of
                    81 INT. "THE CAB" - NIGHT 81
                    Lorenzo has joined the regulars here to cover his ass
                    -well, the press was here, crawling
                    all over the Esperanza story... so
                    they got it right on the fucking news,
                    bloodstains and all...
                    Couldn't be helped, I guess. What
                    was it, gangs?
                                   MCCLANE'S VOICE
                    Yeah... if your gangs get their
                    training at Fort Bragg.
                                   82 NEW ANGLE 82
                     Surprised, they turn to see McClane step out of the elevator.
                     Who the hell is this?
                                   82 CONTINUED - 82
                    (pushing past Lorenzo)
                    I'm a police officer, Mr. Trudeau-
                    L.A., Mr. Lorenzo-don't mean shit-
                    That's what I said about my last
                    cholesterol test. What's your problem-
                                   (READING BADGE)
                    Lieutenant McClane?
                    I think something serious is going
                    to happen here tonight -
                    Hey. Something serious happens every
                    night, only it doesn't make the
                    newspapers. Ever see those guys
                    on TV, juggling knives and cha n
                    i saws? That's what we're doing with
                    those planes up there, only we do
                    it one handed 'cause the other hand's
                    playing 3 card monte with the planes
                    on the ground.
                    Anybody try and fix the deck tonight?
                    (on his look)
                    Anything weird going on besides the
                    We did. lose FAA approach control-
                    What's that?
                    One way we manage the planes. But
                    we've got backup -
                    Long look from McClane.
                                   CUT TO:
                    83 EXT. VIRGINIA CHURCH - BACK YARD 83
                    Burke turns off his acetyline torch, flips up his face shield.
                    We're hot!
                    84 INT. VIRGINIA CHURCH 84
                                   (TO GARBER)
                    Light it up.
                    Signal is given. Switches are thrown. CAMERA PANS OVER-and
                    UP to the CHOIR LOFT, which is electronic heaven. EVERYTHING
                    COMES ON LINE.
                    5 minutes to zero hour. Stand by.
                    85 INT. CAB - NIGHT 85
                    Okay. You clot back-up - back-up
                    for everything you think can go wrong.
                    What about something nobody
                    anticipated? Not accidents, not
                                   WEATHER -
                    (a bit dryly)
                    The human element..?
                    Damned straight the human element.
                    You've got the world's biggest drug
                    dealer on the way, one body and a'-
                    lot of questionsl Doesn't anyone
                    want to look for answers?
                    (after a moment)
                    Lorenzo. Have all your shift
                    Commanders report in... now.
                    What? You're buying into this -
                    I want them to report anything out
                    of the ordinary --no matter how
                    trivial. You got that?
                    (annoyed, but obeying)
                    I got it.
                    Oh, my God...
                    Everyone turns at the chill in Barne's voice.
                    What is it?
                                   85 CONTINUED - 85
                     But Barnes doesn't reply... just tries - and fails - to point out
                     the window. Everyone turns. (X)
                    86 REVERSE ANGLE - OVER THEIR SHOULDERS 86
                    Slowly, without any fuss, and with a pattern of sorts that would
                    be pretty if the impact wasn't so frightening... slowly, ALL THE
                    RUNWAY LIGHTS ARE GOING OUT.
                    87 INT. VIRGINIA CHURCH - SAME TIME 87
                    As Stuart's TECH throws more and more SWITCHES -
                                   88 THE CAB 88
                    - and more and more runways go DARK.
                    Go to emegency lighting... now! (X)
                    Emergencies! Controllers, Code (X)
                    People leap into action... meanwhile, Trudeau and the others MOVE
                    around the tower, the CAMERA FOLLOWING in a 180 TURN, watch as
                    the LIGHTS KEEP GOING OUT.
                    Back up systems won't come up-!
                    Shunt to another terminal!
                    This ain't software, boss -
                    Maybe we should call the power
                    We're on the same Goddamn grid and
                    we're hot!
                    Already the SPEAKER BOXES are beginning to CHATTER -
                     PILOT'S VOICE 2ND PILOT'S VOICE
                    (panicked) Dulles Tower, this is TWA
                    Dulles, what's going on? 23 -what the hell happened
                    I'm in approach - - to you -?
                                   88 CONTINUED - 88
                     CONTROLLER 2ND CONTROLLER
                     604, pull up. Return to You're not in approach, 23.
                     holding altitude. Stand by for instructions...
                                   (COMING OVER)
                    Checked all systems. It ain't
                    And now, God help us, all REACT to ANOTHER ALARM.
                    89 IN THE VIRGINIA CHURCH 89
                    A CABLE yanked from the ground gets CUT, SPARKING -
                                   90 THE CAB 90
                    WHIP PAN to an ENGINEER -
                    Approach control backup! It's gone!
                    91 IN THE CHURCH'S BACKYARD - SAME TIME 91
                    GLOWING FIBER OPTIC CABLE stretched like a sacrifice on a BLOCK
                    -AXE BLADE swoops down - SPARKS. The LIGHT DIES -
                    92 IN THE CAB - SAME TIME 92
                                    2ND ENGINEER
                     Jesus! Instrument landing system
                     i s c l own!
                    Confirmed! ILS is dead - every
                    Goddamn system is dead!
                    (quick, commanding)
                    Jacoby, Strauss. Get your controllers
                    on the horn - every plane approaching
                    our Vortacs that's not in our pattern
                    yet gets turned away'now. Everyone
                    already inside our patrn holds at
                    the outer marker. Stack 'em, pack
                    'em, and rack 'em. Move.
                    (to another man)
                    I want every off duty controller and
                    technician here in five minutes.
                    Page the terminal - no, better, beep
                    McClane. This what you were
                                   92 CONTINUED - 92
                    This? This ain't it, pal. This is
                    just the beginning.
                    A PHONE RINGS. CAMERA ADJUSTS. It's a prominent RED PHONE.
                    FAA hotline -!
                    How could they know already -?
                    Maybe they don't.
                                   (TO TRUDEAU)
                    Maybe... it's them.
                    (a look at McClane, then;)
                    Put it on speaker.
                                   STUART'S VOICE
                    Attention, Dulles Tower. Attention,
                    Dulles Tower -
                    93 INT. VIRGINIA CHURCH NIGHT 93
                    Stuart is using a phone that's PATCHED IN to the cables ripped
                    from the earth -
                    I think by now I've got your
                    attention. I know your recorders
                    go 24 hours around the clock, so I'll
                    be quick -you can play me back later
                    all you want.
                    94 INT. CAB - INTERCUT 94
                    How. did you get on this line? Who
                    is this?
                    Who I am is unimportant. What I
                    want... well, if you don't want those
                    planes overhead to start dropping
                    like flies when they run out of
                    fuel... what I want is very
                    All REACT - McClane as much as anyone.
                                   94 CONTINUED - 94
                    A plane is going to be landing at
                    this Airport in 58 minutes. It is
                    FM 1 - Foreign Military 1.
                    Trudeau nods -
                    This plane is scheduled to be met
                    by a continigent from the U.S.
                    Justice-department. But now there
                    will be a change of plans. This plane
                    will not be met by anyone. It will
                    land on a runway of my designation
                    where it will not be molested. That
                    will conclude my interest in that
                    plane and your responsibility for
                    it. At the same time, I want a 747
                    cargo conversion fully fueled.
                                   95 FAVORING MCCLANE 95
                    As Trudeau tries to make headway with Stuart, McClave leans over
                    to Barnes.
                    What's all that about?
                    A 747 has the furthest flight
                    capacity of anything we've got here.
                    Take out the seats and save some
                    weight, add the wing tanks and it
                    could go to Australia, Africa, Asia
                    - hell the whole Goddamn world.'
                    Meaning they pull Esperanza off his
                    plane and take him anywhere there's
                    no extradition treaties.
                    They're talking to us on our own
                    Goddamn system! They gotta be close
                    - I'll have my men tear this airport
                                   APART -
                    About time, Carmine. Guess you have
                    to light a fire under your ass to
                    light a fire under your ass.
                                   95 CONTINUED - 95
                    McClane, I got a first class unit
                    here, SWAT team and all, and we don't
                    need any Monday morning quarterbacks.
                    (pissed, moving in)
                    Monday morning? My wife's on one
                    of those planes these aasstards are
                    fucking with! That makes me a player
                    on the fucking field, you putz! And
                    if you got off your fat ass when I
                    told you to, maybe we wouldn't be
                    knee deep in shit right now!
                    (turning, shouting)
                    (back to McClane)
                    You're out of here!
                    And already two big Airport cops are trotting over. As Trudeau
                    REACTS, unsure -
                    Mr. Trudeau. Do I have to remind you
                    about FAA regulations regarding
                    unauthorized personnel in the control
                                   (TO GUARDS)
                    See Mr. McClane out.
                    96 AT THE ELEVATOR 96
                    It opens. Someone's inside., but we don't feature them yet.
                    (as he's muscled in)
                    Trudeau, can't you see you're dealing
                    with pros? You can't fuck with these
                                   GUYS -
                    Sam comes out of the elevator, holding up her ID.
                                   (TO TRUDEAU)
                    Sam Coleman, WNTW news. Mr. Trudeau,
                    there's a lot of rumors flying around
                                   THE -
                    Oh, no, no way -
                    -96 CONTINUED - 96
                    This is off limits, Coleman, you know
                    Together with McClane she's shoved into the elevator.
                    Anything you can think-of, they'll
                    think of, too!
                    But the elevator DOORS CLOSE on him and now Lorenzo turns a KEY
                    on the control panel, then SPEAKS into his walkie talkie.
                    Lobby Security, come in.
                    96A AIRPORT - LOBBY - INTERCUT 96A
                                   LOBBY COP
                    (into RADIO),
                    Tomlinson here -
                    And Lorenzo here, with two
                    unauthorized personnel in the fucking
                    tower! Get your thumb out of your
                    ass and get over to the elevator.
                    Get them out and post a guard or
                    you're gonna have a pink slip in your
                    Christmas stocking!
                    Rattled, the guard signals a comrade, hustles to obey.
                    97 IN THE ELEVATOR 97
                    Anything who can think of? Can't
                    fuck with.what guys?
                    McClane punches buttons. But it's on override.
                    Big drug dealer on the way to prison.
                    Gunfight in airport. Every controller
                    in the coffee shop getting beeped
                    and hauling ass, and you rocking the
                    boat. A connection? Come on, McClane
                    -Just a few words -?
                                   97 CONTINUED - 97
                    (opening the control
                    How about "fuck" and "you"?
                    I already got that from Colonel
                    Stuart, thanks -!
                    McClane STOPS as if zapped by a Taser.
                    Stuart! The guy who got canned by
                    Congress - that's who he was-
                    Huh? Who he who?
                    But McClane has already jumped up and grabbed the light fixture,
                    and now in a gymnast's move KICKS out the ceiling hatch and
                     disappears through the roof! (X)
                                   98 NEW ANGLE 98
                     The door opens. The GUARDS there REACT to the open ceiling. (X)
                     Sam shrugs.
                     Claustrophobic, I guess.
                                    CUT TO:
                    99 INT. CAB - NIGHT 99
                    TILT UP from a big map of the airport. Lots of AD-LIB
                    BRAINSTORMING, some of it breaking through - some how one reedy
                    hesitant voice cuts through with nothing but confidence
                    --guys, guys, all we have to do is
                    find a way to transmit - (X)
                                   1ST ENGINEER
                    Yeah, right. Somebody run down to
                    Radio Shack and get a transmitter-
                    We have one.
                                   (POINTING OUTSIDE)
                    The new terminal wing they're
                    building? Twenty airlines when it's
                                   CONTINUED - 99
                                    BARNES (CONT'D)
                    All with their reservation computers,
                    all tied into a nice big antenna
                    array so they can talk to their home
                    offices- it's just sitting there
                    waiting to go on line -
                    I 2ND ENGINEER
                    That's VHF - it'll scatter -
                    Doesn't matter; The planes we want
                    to reach are right overhead. I could
                    rig our frequency in - 30 minutes...
                    wire in a crossover and we're hot.
                    The planes wouldn't even know the
                    Get what you need. Borrow, steal,
                    (heading for the elevator)
                    I want my Swat team to go with him
                    as cover.
                    (firm, tough)
                    Whatever we can think of - they can
                    think of, too.
                    He says it like he thought of it himself. Then -
                                   STUART'S VOICE
                    Attention, Tower. You have two more
                    minutes to stack the planes in your
                    inbound pattern over your outside
                    radio marker. After that you will
                    be able.to receive only. Any attempt
                    to restore your systems will be met
                    by severe penalties.
                    At the elevator, Lorenzo pauses - stage WHISPERS -
                    He's bluffing -
                    Lorenzo leaves. Trudeau ain't so sure.
                                   (TO STUART)
                    Damn it, you can't do this -!
                    I am doing this.
                                   99 CONTINUED - (2) 99
                    (pause; to Barnes)
                    Put me on all bands...
                    Trudeau waits as switches are thrown, and then takes the jack
                    from the ear/phone he wears and jacks it into a panel.
                    This is Dulles approach to all
                    aircraft holding.at Potomic Vortac.
                    We are experiencing...
                    Severe technical problems here.
                    As CONCERNED CREWS in each listen to:
                    Our NAV and Approach systems are
                    down and we expect to lose voice in
                    another minute. We want you to
                    continue holding at the outer marker
                    as directed and wait for further
                    instructions. As - as soon as we're
                    back on line we'll expedite your
                    landings on a.fuel emergency basis.
                    Good luck...
                    God bless.
                    He turns to a tech, face ashen.
                     Okay. Change the boards.
                                    CUT TO:
                    101 INT. DULLES - MAIN TERMINAL - NIGHT 101
                    ANGLE ON a bank of ARRIVAL MONITORS. Already a quarter of the
                    planes are DELAYED by weather; but now, in a domino like
                    PATTERN, all the remaining FLIGHT DATA changes to DELAYED.
                    CAMERA ADJUSTS to show PEOPLE REACTING with frustration and
                                   CUT TO:
                    102 INT. DULLES BASEMENT 102
                    Pretty dark and creepy for a place only 25 years old. A
                    FLASHLIGHT BEAM PANS THE LENS. We SEE the two lobby guards as
                    they search the basement. They move AWAY from the CAMERA.
                                   102 CONTINUED - 102
                    McClane APPEARS in the gloom close to CAMERA, clothes now a
                    little greasy and dirty from his little escape.
                    (sotto, to himself)
                    I don't believe this... another
                    fucking elevator... another fucking
                    basement... why does this always
                    happen to me?
                    He moves through the cavernous maze, and then REACTS to MUSIC.
                    Moves towards it. And arrives in -
                    103 AN ... APARTMENT 103
                    Or something like it: Here, in an area reached only my somebody
                    with a groundhog in his ancestry, is a space with some battered
                    chairs, a 3-legged card table, a cot made up with faded but neat
                    covers, some 50's vintage.(but lovingly scotch taped) PIN UPS,
                    and a tiny kitchen precariously propped up on a big purple
                    plumbling valve on the wall.
                    104 ON A PHONOGRAPH 104
                    The SOURCE of.the music, a 78 SPINNING on the old machine.
                    McClane's HAND picks it up and we WIDEN as he looks at it
                    A HAND reaches for McClane's shoulder.
                                   105 NEW ANGLE 105
                    McClane's instincts take over; in a flash, he WHIRLS and his
                    would be attacker is pinned against a wall. It's a wizened MAN
                    in his 60's who now raises his hands to show he ain't looking
                    for trouble.
                    Who the fuck are you?
                    In response, the man points to the NAMETAG on his coveralls.
                                   MAN (MARVIN)
                    Marvin, I'm Marvin. Thought you was
                    tryin' to steal my records, that's
                    He moves to them, possessively.
                    They're valuble, you know. Me, I
                    like those old 78's. Won't find me
                    switching like everybody else to these
                    new fangled 45's.
                                   105 CONTINUED - 105
                    McClane reacts to that, peers at him.
                    You're what, the janitor?
                    Damn straight. Janitor, and proud
                    of it. Don't need any of this new
                    fangled custodial engineer crap.
                    Just do my job and screw the fancy
                    talk. You know, you're not supposed
                    to be down here.
                                   (LOOKING AROUND)
                    Yeah. Just like you're not supposed
                    to be living here.
                    W-who said I was living here?
                    McClane shows his badge.
                    Come on, Marvin. I wasn't born
                    yesterday. Carmine Lorenzo know you
                    don't go home after you punch out?
                    L-Lorenzo? C-come on, officer, I
                    can barely get by, even with my
                    pension. You know, I'm a vet, WW
                    2? If it wasn't for guys like me,
                    you kids' be eatin' sushi today.
                    I'm just trying to. save a few. bucks
                    -I could. get fired if you tell.
                    McClane moves over to a big panel with telephone lines and jacks.
                    Examines it as he speaks.
                    I'm a veteran myself, Marvin. And
                    a married one. You married?
                    Six times.
                    My wife may be in some trouble
                    upstairs. I gotta find out. This
                    set up of yours? I won't tell a
                    soul... provided you patch me into
                    this panel, 'let me eavesdrop on the
                    tower. What do you say?
                                   105 CONTINUED - (2) 105
                    You a cop or a lawyer?
                                   CUT TO:
                    106 INT. AIRPORT POLICE OFFICE - NIGHT 106
                    There hasn't been this much activity here since Gorbachov dropped
                    in. FIVE SWAT OFFICERS check gear, leave the office at
                    Lorenzo's signal -
                                   (INTO PHONE)
                    I'm sending the SWAT team over for
                    Barnes now - we don't need the Goddamn
                    Christmas tourists seeing guns and
                    flipping out so they'll take him the
                    long way around...
                    107 IN BASEMENT - TIGHT ON ALLIGATOR CLIPS 107
                    We WIDEN as Marvin connects them to one set of bolts, then
                    another. 'McClave shakes his head. No... no...yes!
                                   LORENZO'S VOICE
                    Through the annex skywalk to the new
                    terminal... that way nobody sees them,
                    we don't have any panic.
                                   TRUDEAU'S VOICE
                    And we don't want any disasters.
                    Barnes has five minutes to check out
                    that antenna array.
                    (aside to Marvin)
                    Christ. They're gonna try something
                    cute... where's this annex skywalk?
                    Annex skywalk...? Sounds like the
                    pissant World's Fair...
                    He rummages around, finds a big wrinkled MAP, smoothes it out.
                    Lemme see... yeah, must be this...
                    connects to the new terminal -
                    Marvin points to an ELEVATED WALKWAY connecting the two
                                   107 CONTINUED - 107
                    (looking at map)
                    Shit, it's a fucking bottleneck.
                    Anybody smart enough to shut down
                    the airport is smart enough to figure
                    this... it's a perfect place for an
                                   CUT TO:
                    108 INT. TERMINAL ENGINEERING OFFICE - NIGHT 108
                    Barnes, nervous, throws things into a metal case.
                    His fellow engineers watch, curious, as he EXITS with the FIVE
                    SWAT COPS. CAMERA FOLLOWS the four men past -
                    A) BANKS OF COMPUTERS -
                    B) COMPUTERIZED WEATHER MAPS -
                    C) AN L.E.D. DULLES MAP -
                    all of it useless, all of the operators watching their only hope
                                   CUT TO:
                                   109 BASEMENT 109
                    A MOUND of CRINKLED PAPERS is FLATTENED against the card table.
                    We WIDEN, see it is an architect's PLANS of the entire Dulles
                    netherworld, cribbed by Marvin and now festooned with his various
                    multi-color jotes and notes.
                    Now, see? Here's you. And here's
                    the skywalk.
                    Now, check this out...
                    Like the Japs had all over Iwo Jima.
                    That's where I got wounded. But we
                    put those little twerps in their place
                    once and for all.
                    (pointing to the map)
                    These are air ducts for all the
                    terminals. Heating, cooling. Whole
                                   109 CONTINUED - 109
                     MARVIN (Cont'd)-
                    So I put you in the boiler room
                    where they start, and you come out
                    Looks like... maybe a mile. Easy
                    Uh-uh. It's a pisser of a crawl.
                    And that's the easy part; firs
                    you gotta be an acrobat.
                    110 INT. BASEMENT -- DUCT ACCESS 110
                    With a cordless drill, Marvin unhinges the access door. Last
                    bolt, it falls with a sheet-metal SLAM.
                    McClane WINCES as a BLAST of AIR hits him - and, as. perspiration
                    breaks out on his forehead, we realize it's hot air.
                    Winter up there... Summer down here.
                    He aims Marvin's flashlight down there, isn't enchanted with what
                    he sees. He turns, takes Marvin's map.
                    I owe you one, Marvin. How about
                    a sixpack of malt liquor?
                    How 'bout a case of Johnny Walker?
                    (on McClane's look)
                    Hey, I may be homeless, but I ain't
                                   CUT TO:
                    111 INT. LONG TERMINAL GALLERY - NIGHT 111
                    A big "history of flight" MURAL high on the wall here HALF
                    FINISHED, ceilings PARTIALLY OPEN; A WORKER on the scaffold
                    and THREE OTHERS on the floor still hammering and. fiddling.
                    Barnes and the cops come in. Barnes looks OUT the WINDOWS here
                                   AT -
                    still covered with FACTORY PLASTIC and TAPE.
                    113 BACK TO SCENE 113
                    (into his cellular phone)
                    We're in the annex skywalk. I can
                    see the dish! I'll call you as soon
                    as it's hot for a protocol test.
                                   CUT TO:
                    114 MCCLANE - IN BOILER ROOM - NIGHT 114
                    McClane moves forward - stops immediately. Looks up at Marvin,
                    who GRINS.
                    114A MCCLANE'SPOV DOWNWARD 114A
                    He's HIGH ABOVE the huge boiler room. The only way across is on
                    a narrow beam.
                    114B BACK TO SCENE 114B
                    McClane takes a breath, starts across the beam. There's a scary
                    moment at first but he gets quickly confident - a bit too
                    ; 7-7 confident midway - he starts to lose his balance and all-but runs
                    to the far end, JUMPS to safety.
                    As he pulls himself up he HEARS Marvin CLAPPING behind him.
                    With a scowl, McClane checks his map, pushes on.
                                   CUT TO:
                    115 INT. ANNEX CORRIDOR - NIGHT 115
                    Barnes and the SWAT cops run forward, get on the SLIDEWALK;
                    impatient, they run even while on it.
                    116 A WORKER - AT FAR END OF SLIDEWALK 116
                    reaches into the open slidewalk CONTROL PANEL-hits a SWITCH.
                                   117 THE SLIDEWALK 117
                    JERKS to a halt -the( six men n it almost TUMBLING. Oblivious,
                    the worker turns his-bwCk on them again.
                                   AIRPORT COP
                    Hey! Put that back on!
                    No reaction. The cop runs forward.
                                   117 CONTINUED - 117
                    SWAT COP(cont'd)
                    HEY! ASSHOLE! What do I look like
                    to you?
                    The man TURNS. It's REI , one of the ones who killed the
                    real painters. He ha a GUN.
                    % O R�7lLLY
                    A sitting dunk-. --�
                    He SHOOTS him.
                                   118 WIDER 118
                    The other three "workers" turn, and now we SEE that they are
                    ,H S ELDQN, HS OCKLEY and MULKEY - Stuart's soldiers all.
                    119 BARNES AND OTHER COPS 119
                    As bullets RAKE the slidewalk and PING off its walls, they JUMP
                    over the railing & take cover-another COP KILLED on the move.
                                   120 BARNES 120
                    is CUT badly on the arm by flying GLASS - he CRINGES behind a
                    dumpster while the three remaining cops EXCHANGE FIRE with the
                    four soldiers. BULLETS hit near his metal case. He takes a
                    77 deep breath - rescues it!
                                   CUT TO:
                                   121 MCCLANE 121
                    in the TUNNELS, he tosses off his sweater into the darkness.
                    Underneath, his shirt is already sweat-stained.
                    And then he HEARS the gunfire - it's close! He gets his bearings
                    -LUNGES through a wall of STEAM -
                                   CUT TO:
                    122 THE ANNEX GALLERY 122
                    a third airport.cop DIES. His partner KILLS the gunman
                    (SJ1oi k1E.y) who took out his friend, and then he's KILLED
                    himself. The last SWAT cop breaks cover and gets CUT DOWN.
                    Sudden SILENCE.
                     Barnes suddenl alizes he's all alone. FOOTSTEPS approach him.
                     He looks up. ulke is ri ht above him -
                                   123 WIDE 123
                    Suddenly a VENTILATION GRATE by Mulke ' head KICKS OUT, sending
                    the guy sprawling. McClane JUMP own, FIRING!
                                   123 CONTINUED - 123
                    Mu ey has caught the damn thing on reflex, and now he TWITCHES
                    bacTcwards, the bullets SPARKING off the grate before they drill
                    through him.
                    McClane ROLLS, FIRES a 'Reilly across the gallery, who takes (X)
                    COVER. Then BULLETS hit all around McClane; he SEES
                    124 S ELDON-- ABOVE HIM ON SCAFFOLD 124
                     FIRING DOWN -
                    125 BACK TO SCENE 125
                     McClane FIRES UPWARDS, and then VEERING, he RUNS UNDER the
                     SCAFFOLDING - BULLETS PING off the metal behind him as a'Ae l
                     tries to nail him from ground level - meanwhile (X)
                                   126 UP ABOVE 126
                     Shelf tries to SHOOT DOWN and UNDER. (X)
                                   127 MCCLANE 127
                    deliberately SMASHES into the cross bars he passes, one after
                    another, the SMACK of his body into them sounding like
                    linebackers in combat -
                                   128 SHELDON 128
                    AIMS - but then the half of the SCAFFOLDING beneath him GIVES
                    WAY. He FALLS, SCREAMING - LANDS with a CRUNCH beside Barnes-
                                   129 MCCLANE 129
                    has a moment of satisfaction - then
                    Oh, fuck
                    130 WIDER - SLO MO 130
                    He RUNS and DIVES SIDEWAYS as the rest of the scaffolding falls
                    towards him, paint and glue and ha f the mural's tile grid coming
                    down witWi t !
                                   131 MCCLANE 131
                    lands, HARD, the plywood boards from the top of the scaffold
                    SWEEPING him off his feet - his gun SKITTERS across the linoleum
                    towards the far end of the slidewalk - he rolls over and SEES
                    SIX FEET AWAY 132
                    he, too, has ducked the falling scaffold, but he's already on his
                    feet, already bending to grab his dropped MAC 10 rom the
                    slidewalk - bringing it up - AIMING -
                    133 BACK TO SCENE 133
                     McClane SPINS on the floor and SLAMS the nearest piece of the
                     metal scaffold into the OPEN SLIDEWALK ELECTRONICS.
                     It SHORTS OUT SPECTACULARLY and THEN -
                    133A FAR END OF SLIDEWALK 133A
                     it WHIRRS into HIGH GEAR, TREAD SHREDDING -
                    134 BACK TO SCENE 134
                    the slidewalk in OVERDRIVE, O'Reilly is FLUNG right over
                    McClane's HEAD.
                                   135 NEW ANGLE 135
                    He SLAMS into the wall at the end of the walkway HEADFIRST.
                    There's a sickening CRACK as his neck goes and then he TWITCHES
                    and slides to the floor, a SMEAR of blood on the slick wall.
                    136 BACK TO SCENE 136
                     McClane takes a long overdue breath. Then he picks up his
                    4 pistol, checks the'bodies to make sure there's no surprises,
                     and, goes over to Barnes.
                    You okay?.
                    The antenna array -
                    'Both look ,at it - and then
                                   137 WIDE 137
                    The antenna array outside BLOWS UP, pieces SHATTERING the glass
                    window. McClane and Barnes DUCK, but they're too far away to be
                                   (SLOWLY STANDING)
                    Bait. Something to jerk you off,
                    make Lorenzo sacrifice his best men,
                    and make you waste time.
                                   137 CONTINUED - 137
                                    MCCLANE (CONT'D)
                    Time you don't have...
                                   (LOOKING SKYWARD)
                    Time they don't have. (X)
                                   CUT TO:
                    138 INT. HOLLY'S PLANE - IN FLIGHT 138
                    Thornberg, on an inside aisle seat, glances out the window. Sees
                    something. Releases his seat belt. And goes over to the glass,
                    pressing' .his nose against it like a kid in a candy store.
                                   139 HIS POV 139
                    LIGHTS in the sky: Other airplanes.
                                   140 WIDER 140
                    Holly looks at him. She can't help not looking at him; he's
                    practically in her lap.
                    I think you're closer than fifty
                    So is that plane... practically.
                    Despite herself, she looks out.
                    Yeah. There's quite a few out there;
                    we're in a regular traffic jam.
                    There's nothing regular about it.
                    I see you're intrigued. That's my
                    gift, Mrs. McClane. I make people
                    Don't you mean nauseous?
                    The people have a right to know, Mrs.
                    McClane. You got in the way of that.
                    You endangered my children... my
                    husband.. and me.
                                   140 CONTINUED - 140
                                    HOLLY (CONT'D)
                    And you didn't do it for anything
                    as noble as "the people". The only
                    time you see the people is when you're
                    climbing over their backs.
                                   CUT TO:
                    141 INT. ANNEX - NIGHT 141
                    McClane is doing a damn decent FIELD DRESSING on Barnes.
                    (into his cellular phone)
                    --me? I'll live. But Lorenzo's (X)
                    SWAT team is dead... and the antenna
                    array is toast. Start looking for (X)
                    a new miracle.
                    AN EERIE ALIEN TYPE VOICE makes them both jump; McClane raises
                    his GUN.
                                   142 NEW ANGLE 142
                    It's coming from a TRANSCEIVER beside one of the dead men.
                    Curious, Barnes slides over, picks it up. LISTENS with McClane
                    to the GARBLED, spine-chilling NOISE.
                    143 INT. VIRGINIA CHURCH 143
                    I say again, Annex team... report
                    in. Annex team, report in.
                    He looks at Stuart, concerned.
                    144 INT. ANNEX 144
                     Here, Garber no longer sounds human.
                    Some kind of scrambler so even if
                    we scan their frequency we can't
                    listen in. Descramble mode must
                    activate on this code panel.
                                   (ALMOST ADMIRINGLY)
                    These guys are pros.
                    So are you. Break the code -
                                   144 CONTINUED - 144
                     Eight numbers - that's 8 X 7 X 6 times
                                    -UN -
                     40,320 possible combinations.
                    Next time you kill one of these guys
                    - get them to enter the code first.
                    145 IN THE VIRGINIA CHURCH - NIGHT 145
                    Kahn descends from the choir loft and joins Stuart and Grant.
                                   (TO STUART)
                    Sir, we just monitored a call from
                    their chief engineer. Our people
                    took out their Swat team...
                    You were right... they went for the
                    antenna array. We're right on
                    Except losing our own team wasn't
                    part of the plan.
                    He comes to a decision. Picks up the phone. Speaks. Voice
                    flat, firm, stern. Around and above him, his men hover over the
                    improvised screens and terminals.
                    Attention, Dulles. You were warned
                    not to try and restore your systems.
                    146 INT. CAB 146
                     They listen, fearful -
                                    STUART'S VOICE
                    You've wasted lives and time on a
                    futile and obvious target. Now you
                    have to pay the penalty.
                    147 MCCLANE - IN ANNEX - SAME TIME 147
                    They HEAR this too, over Barne's cellular tie in to the tower.
                    McClane grabs it.
                    There's five dead officers here,
                    Colonel Stuart - Isn't that penalty
                    148 INT. CAB - NIGHT 148
                    This interchange is BROADCAST here - Lorenzo SHOUTS into the
                    McClane! Keep out of this! You-
                    He stops, seeing the chilling look Trudeau is giving him.
                                   149 STUART 149
                    has reacted to both the mention of his name and of McClane's.
                    His brow furrows. Ah, yes.
                    McClave? John McClane? The...
                    policeman hero who saved the Nakatomi
                    hostages? I read about you in People
                    magazine. You seemed out of your
                    league on Nightline, though...
                    Yeah, Colonel. We were both famous
                    for five minutes. Saw you get shit
                    canned by Congress on TV. How much
                    drug money is Esperanza paying you
                    to turn traitor?
                    I think Cardinal Richlieu said it
                    best: Treason is merely a matter
                    of dates. And this country has to
                    learn it can't keep cutting the legs
                    off men. like General Esperanza -men
                    with the guts to stand up to Soviet
                    And lesson one starts with killing
                    policemen? What's lesson two - the
                    Neutron bomb?
                    I think we can find something in
                    (aside, off mike)
                    Give me a flight number - one low
                    on fuel.
                    Another man hands him a slip of paper. He reads it, switches to
                    another mike (or frequency).
                    Windsor flight one-four-teen, this
                    is Dulles Approach... do you copy?
                                   CUT TO:
                    150 IN THE REAL TOWER - THE CAB - NIGHT 150
                    Everyone here REACTS to Stuart's voice - and the chilling lie
                    he's just told in an affable, good of boy tone that's totally
                    different than anything we've heard.
                                   BRITISH PILOT
                    Approach, this is one-fourteen.
                    Where the devil have you been?
                                   STUART'S VOICE
                    We been right here, old man. But
                    our systems didn't come back on line
                    until just this second.
                    151 MCCLANEAND BARNES - IN ANNEX 151
                    both ashen faced -
                     MCCLANE STUART'S VOICE
                     Christ, helsbringing them You're cleared for approach
                    down! Why are they on Runway 29. Report to the
                    listening? Tower at the Outer Marker.
                                    BRITISH PILOT
                     BARNES Roger, Approach, and about
                    (heartsick) time: I've got 230 people
                     It's our frequency. Why up here flying on petrol
                    shouldn't they? fumes.
                     TRUDEAU STUART'S VOICE
                     The son-of-a-bitch... the (replying to pilot)
                     Goddamn son-of-a-bitch- I'll bet. Okay, calibrate
                     your altimeter at setting
                     MCCLANE'S VOICE two-nine-nine-two. Turning
                    What? you over to Tower...now.
                    That's the runway between here and
                    the new terminal... he wants to make
                    all of.us watch it.
                                   153 MCCLANE 153
                    CAMERA PUSHES IN on him as he turns and looks out the window.
                    Don't do it... you bastards, don't
                    do it..!
                    Desperate, McClane runs to the spilled paint, grabs turpentine,
                    rags, pieces of scaffolding.
                    What are you doing?
                                   153 CONTINUED - 153
                                   (RIPPING FABRIC)
                    Whatever the fuck I can, Barnes...
                    whatever the fuck I can.
                    154 IN THE BRITISH COCKPIT 154
                    (into cabin mike)
                    Ladies and Gentlemen, as you've
                    probably noticed, we've started our
                    155 INT. CABIN 155
                                   PILOT'S VOICE
                    We're sorry about the inconvenience,
                    but we'll all be on the ground in
                    a few minutes.
                    The spent and exhausted people REACT. Some break into APPLAUSE
                    and CHEERS of "HIP HIP." But one NICE ENGLISH GRANNY -clearly
                    not an experienced air traveler - still looks TENSE. A
                    STEWARDESS pauses to pat her shoulder reassuringly.
                    Just like British rail, luv. May
                    be.late but we get you there.
                    156 MCCLANE-FROM OUTSIDE ANNEX 156
                    Barnes holds one end of.a painter's dropcloth; McClane - now
                    wearing Barne's coat - DROPS out the broken window to the snow
                    There he's a tiny SHADOW on the white field. He turns, RUNS
                    across the. unlit airport... wind whipped SNOW quickly hiding
                    him from Barnes.
                    157 THE VIRGINIA CHURCH - NIGHT 157
                     (off mike to Thompson) (X)
                     Activate ILS landing system. But (X)
                     Recalibrate sea level. Minus 200
                    31$p,son - the main TECH here - OBEYS, with an unhealthy GRIN.
                     He punches DIALS - a SCREEN LIGHTS UP - Stuart plays with his (X)
                     mike button to create static as he "switches" the incoming plane (X)
                     from the approach operator to the tower operator - both, of (X)
                     course, played by him... (X)
                                   158 BRITISH COCKPIT 158
                    The crew REACTS as their ILS lights up. High fives all around.
                    159 IN THE TOWER 159
                    The SOUND of ENGINES.
                    Oh, God...no...
                                   A TECHNICIAN
                    Can't we cut in, jam them -
                    Everything's dead.
                    There's somebody out there -
                    LIGHT SIZZLES in the distance, dances. Trudeau fumbles up a pair
                    of binoculars. Looks -
                    Christ. It's McClane. He'll get
                    himself killed -
                    160 MCCLANE - ON THE FIELD 160
                    He's made two TORCHES from wads of fabric wound on the scaffold
                    pieces - now he uses his LIGHTER to ignite them. He WAVES the
                    impromtu FLARES in a crazy pattern - We HEAR the approaching
                    160A IN THE ANNEX SKYWALK 160A
                    (at the window, watching)
                    Come on, see the torch, see the
                    161 IN THE TOWER 161
                    Everyone watches the dancing lights and listens to -
                                   PILOT'S VOICE
                    Dulles, this is Windsor one fourteen.
                    Inside the outer marker.
                                   STUART'S VOICE
                    (doing a different voice
                                   THAN BEFORE)
                    Roger, Windsor. This is Dulles
                    Tower. We have radar contact and
                    show you on ILS. You are in the glide
                    path and looking good.
                                   161 CONTINUED - 161
                                   PILOT'S VOICE
                    Wait a minute... something down there
                    through the snow... looked like a
                    162 STUART - IN VIRGINIA CHURCH 162
                    (puzzled, but covering)
                    Probably our runway systems coming
                    back up. Don't worry about it you're
                    coming in on instruments.
                    Roger. Flaps down. Airspeed 100
                     knots... 80... 70...
                     RVR 1/4 mile... . altitude 1000
                     feet... 800... Ref plus 20...
                    163 MCCLANE -ON THE FIELD 163
                    Now he can HEAR the plane's ENGINES and - for a fleeting MOMENT
                    he SEES its LIGHTS between gusts of snow-
                    No... no, Jesus, Mary, Mother of God,
                     no... pull up... pull up...
                    164 IN THE TOWER 164
                    Helpless, listening, watching - the lane's lights intermittently
                    visible here, too, growing closer - dropping -dropping -
                    600 feet...
                    Looking good, Windsor... watch it
                    - there's a 30 knot cross wind and
                    the runway's icy - atta boy -atta
                    Four hundred feet - two hund-
                    165 IN THE COCKPIT 165
                    Suddenly from out of the darkness the crew sees THE RUNWAY, RIGHT
                    UNDER THEM -
                    'l 165 CONTINUED - 165
                    He SLAMS CONTROLS - the plane TILTS -
                                   166 OUTSIDE 166
                    Engines SCREAMING, the crew brilliant and skilled, but it's not
                    enough, not enough - the nose comes up but a wingtip DIPS,
                    catches the tarmac - and that's all it takes: The PLANE FLIPS
                    OVER, ROLLS -
                    166A INSIDE THE TUMBLING PLANE 166A
                    LUGGAGE tumbles in the CABIN - PEOPLE SCREAM -
                    166B EXT. PLANE - RESUME 166B
                    for a split second we HEAR the SCREAMS of men, women, children,
                    and then all we HEAR - and SEE - is an EXPLOSION.
                    167 RUNWAY - ANOTHER ANGLE
                    As the plane breaks up and flaming debris SCATTERS.
                                   168 MCCLANE 168
                    Behind the plane, watching the fireball roll away from him.
                    He gives the scream of an. animal in a trap and falls to his
                    169 IN THE TOWER 169
                    Everyone RECOILS at the explosion, which turns this room BLOOD
                    RED with reflected light. CHUNKS OF METAL and PLASTIC boil
                    through the sky. Something HITS the GLASS here, starring it and
                    smearing it with what we hope is only grease.
                    Somewhere SIRENS wail.
                                   CUT TO:
                                   170 STUART 170
                    Silence here, too. His men look at him. Except for ThampSm,
                    who clearly enjoyed his part in the above, their faces are
                    blank. Maybe they're admiring Stuart's incredible coolness.
                                   (INTO MIKE)
                    That concludes our object lesson for
                    this evening. If the 747 we
                    requested is ready on time and General
                    Esperanza lands unmolested, further
                    lessons can be avoided.
                                   1170 CONTINUED - 170
                    He DISCONNECTS.
                                   CUT TO:
                    171 THE RUNWAY - LONG DOLLY SHOT - NIGHT 171
                    Firemen and medics scramble over a chaos of metal and fabric that
                    used to be an airplane. WATER everywhere;- snow melted for a
                    hundred yards around from the EXPLOSION.
                    Pieces of luggage, fragments of people's lives: Toys, purses,
                    books, a woman's bloody shoe.
                    McClane weaves through the workers, glazed eyes looking at the
                                   RESCUE WORKER
                    Tower, this is Rescue Three. No (X)
                    survivors. Repeat, no surviv-
                    He stops, looking puzzled at McClane, who is torn, bloody.
                    McClane.sees the look. Laughs bizzarely.
                    Relax, pal, I'm not a survivor. I'm
                    just another victim.
                    He grabs the rescue worker by the collar.
                    .the last fucking victim he'll
                    ever have.
                                   CUT TO:
                    172 EXT. VAL VERDE MILITARY TRANSPORT--NIGHT • .172
                    173 INT. VAL VERDE MILITARY TRANSPORT--NIGHT 173
                    Esperanza glances at his watch. Then, with a slight grimace
                    and moan, he begins.to massage his chained lower legs with his (X)
                    cuffed hands.
                    Dios, los calambres!
                    (to his guard)
                    Muchacho, si possible a removar eses?
                    (with a grin)
                    De donde a yo caminar, si?
                    The young guard shakes his head. (X)
                    YOUNG GUARD (X.)
                    Desculpe me, mi General. No tengo (X)
                    el permiso. (X)
                    X173 CONTINUED - 173
                    Esperanza's eyes flash for a moment - and then he smiles
                    paternally, fumbles a cigar out of his breast pocket.
                    Bueno, joven, bueno! Tu eres un
                    soldado excelente! Ahora, en vez
                    del libertad - dame un fosforo?
                    Flattered, the kid lights him up.
                                   CUT TO:
                    174 INT. VIRGINIA CHURCH - NIGHT 174
                    In the silence since the crash, no SOUNDS here, except the faint
                    MONITORING of the Tower and aircraft chatter and the muted AUDIO
                    of a TV. Garber breaks the silence.
                    Sir. They've done everything we've
                    anticpated... so far-
                    Stuart smiles tightly at the unvoiced question.
                    Don't worry, Captain. If this goes
                    into extra innings...
                                   (A SHRU )
                    Well, we'll just call an our man in
                    the other team's locker room.
                    And - almost in afterthought - he wipes the flight number from
                    the clear glass board. CAMERA PUSHES to the TELEVISION.
                    175 ON THE SCREEN 175
                    SAM COLEMAN is on CAMERA, "live" supered over her face. She's
                    OUTSIDE on the airfield, her NEWS HELICOPTER beside her. In
                    the distance behind barricades we see the CRASH SITE.
                    --hundreds of people in the terminal
                    heard or saw the crash, but still
                    there has been no official word from
                    authorities. Meanwhile - despite
                    the fact that only one runway has
                    been closed due to the tragedy,
                    several dozen airliners are visible
                    from where I stand, endlessly circling
                    the field. Rumors abound that somehow
                    the accident has interfered with
                    normal landing procedures here.
                    (� ) 175 CONTINUED - 175
                                    SAM (CONT'D)
                    Other reports say there were
                    difficulties in the tower before the
                    crash, and that they may have even
                    contributed to it. One thing is
                    certain: With weather conditions
                    worsening, the problem here and in
                    the sky above us will continue to
                    grow. This is Samantha Coleman at (X)
                    Dulles International Airport.
                                   CUT TO:
                    176 INT. AIRPORT POLICE OFFICE - NIGHT 176
                    PHONES ringing off the. wall; pitiful attempts at damage control.
                    A DOCTOR gives Barnes a proper bandage on his cut.
                    McClane sits dazed on a bench, eyes looking at nothing - the
                    coffee someone gave him ignored. Trudeau.appears.
                    Barnes. We have to warn those planes
                    we got a lunatic down here who likes
                    to pretend he's the tower. Get up
                    to the cab and get us on the air.
                    On the air? With what?
                    With your Goddamn brain!
                    Barnes leaves. McClane blinks, coming around to reality. Sees
                    Trudeau... I... I...
                    You don't have to say anything,
                    McClane. We all know how you feel.
                    Do you? Do you? I've been a cop
                    13 years... Everything from... lost
                    kids to hostages... but... all of
                    it was... taking care of business...
                    taking care of peoplle... until
                    tonight. Tonight, everything I did,
                    everything I tried...
                                   (VOICE TIGHT)
                    I never felt so useless.
                                   0176 CONTINUED - 176
                    (feeling his pain)
                    Our own SWAT team's gone. We called
                    the Government for help. They're
                    sending in a special Army unit.
                    Tactical Terrorist Team...
                    McClane sees something else there in his eyes.
                    Your wife's plane...?
                    (as McClane tenses)
                    They keep broadcasting, even though
                    we can't answer. They... they'll
                    run out of fuel in 90 minutes.
                    CAMERA PUSHES IN on McClane.
                                   CUT TO:
                    177 INT. HOLLY'S PLANE - NIGHT 177
                    Thornberg at the window again. Face suspicious.
                    Listen, Dick -
                    That is your name? Dick, if you're
                    going-Eo keep getting this close,
                    you think you could change
                     Anything else?
                     A stronger mouthwash would be nice.
                     He glares at her, moves down the aisle.
                                   178 WITH HIM 178
                     he goes into the coach section, moves to the row with his NEWS
                     CREW. He shakes a sleeping ASSISTANT awake.
                     Victor. Victor!
                    Uh - yeah, what?
                    1 )l78 CONTINUED - 178
                    Did you pack the radio mikes from
                    the shoot, or put them in your carry
                    Are you crazy? I wouldn't let those
                    assholes check 'em -
                    I love you. Get one of the
                    Puzzled, the man pulls his bag from under the seat, gets one out.
                                   4 THORNBERG
                    Can you tune in the cockpit frequency?
                    I want to hear what's going on.
                    4 Should be on our band...
                    He TUNES the mike's receiver, monitoring. with an earplug.
                    You just said it would work -
                    It is working. But all I get is...
                                   (LISTENING AGAIN)
                    The weather recording. It's like...
                    like the tower isn't there.
                    CAMERA TIGHTENS on Thornberg. Wheels start spinning. Leaving,
                    he pats Victor's shoulder.
                    Stay on it. Tell me if anything
                                   CUT TO:
                    179 EXT. REAR OF TERMINAL - NIGHT 179
                     LIGHTS in the SKY cut through the SWIRLING SNOW. Two ARMY (X)
                     HELICOPTERS dance through the air towards us, and SET DOWN with a (X)
                     ROAR, their BACKWASH creating a Yukon like STORM. (X)
                    !179 CONTINUED - 179
                    Waiting here are Trudeau; The JUSTICE DEPARTMENT MEN we saw
                    earlier; Lorenzo, worried about his status - and McClane, plain
                    As the ROTORS keep TURNING, SOLDIERS and the CHOPPER CREWS
                    hustle out of the choppers, the wind blowing over them and their
                    equipment. A powerfully built MAJOR in his late 40's walks
                    forward past the waiting men like someone in a receiving line.
                    Everyone SHOUTS over the NOISE.
                                   I GRANT
                    We're the Triple T's. I'm Major
                    i JUSTICE MAN
                    Rollins. Department of Justice.
                    Trudeau. Chief of Air Operations.
                                   (ASS KISSING)
                    Lorenzo. Terminal Police. You want
                    something... you got it.
                    This is it? A dozen men?
                    Pause. Grant stops, looks at him.
                    One crisis... one dozen. Who are
                    John McClane.
                    McClane... Oh, yeah, you're the one
                    who tried to save that plane tonight.
                                   (STEPPING CLOSER)
                    You showed some balls out there,
                    McClane. Now show some sense and
                    let the pros handle things.
                    Unfortunately the pros are on the
                    other side. Colonel Stuart is one
                    of your boys -
                                   )179 CONTINUED - (2) 179
                    Not any more, he's not.
                    (to the group)
                    Gentlemen, we are here to take down
                    Colonel Stuart... and we will take
                    him down. You see, I served, with
                    him. And I taught him everything
                    he knows.
                    Yeah. But what if he took some night
                    Grant REACTS, recovers.
                    cto his men)
                    All right, hustle! Command post will
                    be in the Airport Police office.
                    I want to be tied into the Tower and
                    every sysytem that's still working
                    in fifteen minutes!
                    You heard the man, troop! Move it!
                    GEAR and WEAPONS get hustled into the building as the Choppers
                    LIFT OFF.
                    (as he turns)
                    Did things just get better... or
                                   CUT TO:
                    180 INT. CAB - NIGHT 180
                    Barnes, huddled with the engineers. Desperate now.
                                   2ND ENGINEER
                    Lights! Big portable lights! We
                    set up on the field and -
                    And wait for those lunatics to shoot
                    them out? And where do we get those
                    "big portable lights"? Borrow them
                    from Batman?
                                   1ST ENGINEER
                    Semaphore! That gets my vote-
                    I80 CONTINUED - 180
                    Your vote? You voted for Dukakis!
                    (exasperated, to another
                    What about the airphone idea?
                                   3RD ENGINEER
                    Eighteen planes up there; only five
                    have those phones. We got through
                    to three of them, still trying with
                    the others.
                    Great, that leaves thirteen accidents
                    waiting to happen. Are they still
                    bucking headwinds? That's eating
                    up most of their fuel.
                                   1ST ENGINEER
                    Just checked the weather. Headwinds
                    slamming right into everybody over
                    the outer marker. The planes with
                    enough fuel were already shunted to
                                   ATLANTA -
                    Suddenly Barnes' expression changes.
                    Damn! The Outer Marker!
                    (on t eir loo s
                    It's a beacon, right? A radio beacon,
                    that sends out this "boop-boop-boop"
                    so they know they're over it, right?
                                   1ST ENGINEER
                    So, who says that radio signal has
                    to be just "boop-boop boop"?
                                   2ND ENGINEER
                                   (GETTING IT)
                    We switch the tower freqency over
                    to the one for the beacon -
                    -and we can talk to the planes and
                    those bas ar s w o did this will never
                    And as faces brighten for the first time in hours, we
                                   CUT TO:
                    ;'1181 INT. AIRPORT POLICE OFFICE - NIGHT 181
                    WIDEN from a tubular ELECTRONIC DEVICE with torn out wires at
                    both ends as it CLUNKS down on a table.
                    The second Triple T SERGEANT wipes grease from his hands, shows
                    it to the men here.
                                   2ND SERGEANT
                    Traced the signal, found it in the
                    luggage area. they've been tapped
                    into the tower all night.
                    McClane and Trudeau look at Lorenzo, who looks away, embarassed.
                    The young CORPORAL has set up his radio gear in the
                    receptionist's area. Now, he TUNES in that GARBLE.
                    That's all we keep hearing. Can
                    you do anything with it?
                                   CORPORAL TELFORD
                    (shaking his head)
                    If I had a few hours...
                    (checking his watch)
                    My wife has less than two.
                    I only got transferred in yesterday
                    regular comm man got appendicitis.
                    But word is nobody's better at this
                    than Major Grant.
                    Except Colonel Stuart?
                    The kid can't answer. Then Grant appears, the MAN from the
                    Justice Department in tow.
                    (as he moves)
                    Trudeau. Lorenzo. You brief me
                    on that plane he asked for, I'll fill
                    you in on my orders. In my office.
                    "My office" meaning Lorenzo's. Lorenzo glowers at that, but the
                    little group moves in that direction - then the JUSTICE GUY puts
                    up his hand to block McClane -
                    JUSTICE DEPT. GUY
                    No civilians.
                    Trudeau looks at McClane, sympathetic - and then the door SHUTS.
                                   CUT TO:
                    182 INT. HOLLY'S PLANE - COCKPIT 182
                    The Navigator suddenly sits upright at his 'phones.
                                   2ND OFFICER
                    What the fuck -
                    What is it?
                                   2ND OFFICER
                    The outer marker beeper? It's not
                    beeping. It's talking.
                    And saying this he turns up a DIAL -
                                   BARNES' VOICE
                                   (FROM SPEAKER)
                    --tention, all aircraft in Dulles
                    landing pattern. Attention. This
                    is Chief Engineer Leslie Barnes.
                    d I have been authorized to brief you
                    in full. At this time this is the
                    only channel available to us. Here
                    is the situation. Approximately 2
                    hours ago -
                    183 INT. PLANE - LAVATORY AREA 183
                    Between business class and coach. Grinning, Victor pulls
                    Thornberg through the curtain, pokes an earplug into Thornberg's
                    ear. We TIGHTEN on him.
                                   BARNES' VOICE
                    -the terrorists have cut all our
                    systems and now have control of
                    everything except this channel.
                    Holy shit - we - we gotta get this
                    on tape -
                    Victor GRINS. And pulls a MICROCASSETTE RECORDER from his shirt
                    pocket. It is ALREADY JACKED INTO THE RECEIVER and TURNING.
                    Thornberg all but cackles.
                                   BARNES' VOICE
                    We believe this channel is secure
                    but your own transmissions are not.
                    Do not repeat do not attempt to reply
                    on your own frequencies to this
                    broadcast. These people have already
                    caused one crash by impersonating
                                   OUR TOWER-
                    �._ 184 HOLLY 184
                    looking suspiciously at the little piece of the two men still
                                   CUT TO:
                    185 INT. CAB - SAME TIME 185
                    Barnes is using a TELEPHONE which is JURY RIGGED with some
                    electronic lines.
                    (into a TELEPHONE)
                    -repeat, do not accept any
                    instructions claiming to be from our
                    tower unless you hear your own flight
                    recorder access code. We will get
                    this from your respective airlines
                    and use it for confirmation.
                    186 INT. HOLLY'S PLANE 186
                    where Thornberg's expression is like a man having sex.
                                   BARNES VOICE
                    Repeat: the terrorists have cut off
                    the two systems that can allow you
                    to land: The field lights for a
                    manual landing and the ILS for an
                    instrument one. A special US Army
                    unit is already here and preparing
                    to take out the terrorists.
                     CAMERA TIGHTENS on Thornberg: Orgasm.
                                    CUT TO:
                    187 INT. DULLES BASEMENT - NIGHT 187
                    TIGHT ON A CRACKED MIRROR. Marvin is checking himself out in a
                    nice, long topcoat which has unfortunately recently been covered
                    with grease and grime (not to mention the bullet holes.)
                    CAMERA ADJUSTS as McClane comes in.
                    Hey, officer. Thought you'd be
                    upstairs by now, hanging out with
                    the top brass.
                    They kind of busted me down to buck
                                   187 CONTINUED - 187
                    I know that feeling. Interested in
                    a nice coat?
                                   (RECOGNIZING IT)
                    The lining's ripped and it needs
                    some invisible mending. Keep it.
                    Think you can get me on line upstairs
                    Marvin chuckles, moves over to a table and pulls aside a cloth.
                    All electronic stuff there.
                    I was just a kid, working those
                    radios on the B-29's. But I kept
                    up. Still read Popular Mechanics.
                    These transistor things, I'm on top
                    of 'em -
                    Marvin realizes that McClane has'a funny expression.
                    You okay, son?
                                   2188 NEW ANGLE 188
                    FOCUS CHANGE. McClane STARES at the table... and one of the
                    scrambled transceivers - one with a GREEN L.E.D.!
                                   CUT TO:
                    189 INT. VIRGINIA CHURCH - NIGHT 189
                    Stuart is in the pulpit, his men attentive.
                    We've pussied out around the world,
                    over and over again. We drop the
                    Shah, fuck Marcos, throw Noriega
                    overboard. You know what they think
                    around the globe? The worst thing
                    that can happen to you is to have
                    America as a friend. And now that
                    stain head Gorbachov, he's got some
                    nice English suits, and a wife without
                    gold teeth, so now the Commies are
                    nice? Gentlemen, we are soldiers
                    and we do not believe in fairy tales
                    sweet though they may seem. Well,
                    tonight, the pattern ends. The
                    dominos will fall no more and the
                    ramparts will remain upri-
                                   189 CONTINUED - 189
                     THOMPS ON (X)
                    (ca 11 ing--out.3-
                    Sir! General Esperanza's plane just
                    came on the scope.
                    Stuart hurries up into the choir loft, CAMERA ADJUSTING. He
                    takes up the phone.
                    Attention, Dulles Tower...
                    190 INT. CAB 190
                                   STUART'S VOICE
                    I am lighting up a runway now. Do
                    not - repeat, do not - attempt to
                    land any planes. Remember, I am
                    monitoring you.
                    And now, like magic - one DISTANT RUNWAY twinkles on. Almost
                    immediately the CHATTER from the sky picks up: QUESTIONS.
                    DEMANDS. PLEADING.
                    What do we do?
                    191 INT. ESPERANZA'S PLANE - PULLBACK FROM COCKPIT 191
                                   STUART'S VOICE
                    Dulles Tower to FM-i. Dulles Tower
                    to FM-1...
                    VAL VERDE CO-PILOT
                                   (IN ENGLISH)
                    This is FM-1, Dulles. We read you.
                                   STUART'S VOICE
                    You are to come in on runway fifteen, (X)
                    repeat, runway fifteen.
                    By now the CAMERA is in the REAR CABIN.
                    Just in time to SEE Esperanza STRANGLE the nice young corporal
                    with the chain from his handcuffs.
                    He lets the body drop, nice and soft so it doesn't make a sound.
                    Taking the handcuff key from the body, he frees himself... (X)
                                   CUT TO:
                    192 INT. BASEMENT 192
                    McClane is examining the Scrambler, excited.
                    The code... the code's still
                    punched... where did you get this?
                    Came with the coat; over near the
                    luggage belts. Looks like one of
                    them Japanese radios... can't hold
                    a candle to a nice Zenith if you ask
                    me... You like it, huh? How about
                    twenty dollars?
                    How about I let you live?
                    (handing it over).
                    Man knows how to bargain...
                                   CUT TO:
                    193 INT. ESPERANZA'S PLANE 193
                    VAL VERDE PILOT
                    Dulles, this is contrary to our
                    instructions. We are to land on
                    Runway One and be met by
                    representitives of your Justice
                                   DEPARTMENT -
                    He STOPS.
                    He's seen Esperanza, who has come into the cockpit holding the
                    corporal's pistol..
                    Capitain, please tell the tower you
                    will proceed as ordered.
                                   (PAUSES; THEN)
                    Roger, Dulles. Proceeding to runway
                                   FIFTEEN -
                    Suddenly the CO-PILOT LEAPS for Esperanza! Esperanza WHIRLS,
                    SHOOTS TWICE - one shot KILLS him - but one SHATTERS
                    194 ONE OF THE SIDE WINDOW PANELS 194
                    and WIND and SNOW thunder INSIDE like a WALL.
                    \ )195 INT. CAB - INTERCUT 195
                    Everyone has REACTED to the SHOT and NOISE - and now ANOTHER
                    196 INT. ESPERANZA'S PLANE -NIGHT 196
                    TILT UP from the PILOT'S BODY on the floor, already flecked with
                    Esperanza is at the controls, trying to SEE through the SWIRLING
                    WHIRLWIND. Cursing, he flies with one hand; with the other he
                    REACHES UP and FEELS ABOVE the RADIO PANEL for something he
                    expects to be there: And it IS - one of the DISTINCTIVE
                    SCRAMBLED TRANSCEIVERS.
                                   (INTO IT)
                    Eagle Nest, this is Falcon... Mayday.
                    Eagle Nest, this is Falcon... Mayday!
                    197 INT. CAB 197
                    They HEAR the GARBLED ALIEN SOUND -
                    198 INT. VIRGINIA CHURCH 198
                    Stuart is startled to hear this, but grabs his transceiver
                    Go ahead, Falcon -
                                   CUT TO:
                    199 INT. BASEMENT 199
                                   ESPERANZA'S VOICE
                    Repeat, I have lost cabin pressure. (X)
                    Near zero visibility. I must drop
                    out of the storm. I can land but
                    I must land now, on the first outgoing
                    runway. Repea , I cannot circle
                    around to runway fifteen.
                    PULLBACK. McClane listens, grinning. He takes the airport map
                    from his pocket, hands it the Marvin.
                    Marvin... you show me a shortcut to
                    runway fifteen and you got yourself
                    a liner for that coat.
                    200 STUART - IN VIRGINIA CHURCH - INTERCUT 200
                                   (OFF MIKE)
                                   200 CONTINUED - 200
                    He snaps his fingers. Someone produces a map, points out -
                    (nodding, into
                    Roger, Falcon. That would be...
                    Eleven West-3: It's a straight run
                    from the ocean -
                    INT. ESPERANZA'S PLANE - INTERCUT 201
                    as he DESCENDS from the eye of the storm the SNOW in the cockpit
                    ABATES a bit. Now we can SEE the airfield - and the ILLUMINATED
                    RUNWAY which is PERPENDICULAR to the plane.
                    Thank you for telling me, Eagle Nest.
                    But if you could show it to me as
                    well I would be grateful.
                    In the church, Stuart grins at Esperanza's coo]., signals
                    Thompson. A switch is THROWN.
                    The FIRST RUNWAY goes OFF and a NEW RUNWAY lights up DIRECTLY IN
                    FRONT of the plane.
                    Gracias', Amigos.
                    202 INT. RUNWAY TUNNEL 202
                                   (HEARING THIS)
                    Eleven West? What the fuck happened
                    to fifteen?
                    (fumbling-with the map)
                    ;up to my ass in fucking terrorists
                    again. I gotta start reading my
                    Goddamn horoscope...
                    203 INSERT - THE, MAP 203
                    His FINGER moves along the runway to the code numbers.
                                   MCCLANE'S VOICE
                    Eleven W4, W5 - Bingo.
                    204 BACK TO SCENE 204
                    He turns. CAMERA PUSHES to the whits wall numbers here: "11W3".
                    An ARROW indicates "ACCESS GRID."
                                   ESPERANZA'S VOICE
                    Eagle Nest, do you copy? I'm coming
                    down, now.
                    -/204 CONTINUED - 204
                                   STUART'S VOICE
                    We copy, Falcon. We'll have you in
                    five minutes.
                                   (TO HIMSELF)
                    Not if I can help it, asshole.
                     He turns and begins running down the tunnel.
                                    CUT TO:
                    205 STUART - IN VIRGINIA CHURCH 205
                    he tosses the command mike to one of his men, throws a weapon
                    over his shoulder and leads Garber, Thompson and Kahn in a rush (X)
                    out the rear door.
                    206 INT. CAB 206
                    REACTIONS as the PREVIOUS lit runway GOES DARK and a DIFFERENT
                    ONE LIGHTS UP.
                    206 INT. ESPERANZA'S PLANE - NIGHT 206
                    Wincing against the blowing snow and wind, the General expertly
                    trims his descent. He reaches for a co-pilot's control and
                    sweeps the dead man to the floor, bites down on his cigar. The
                    plane begins to VIBRATE, but he humms to himself.
                    He's the scum of the earth. But one hell of a pilot.
                                   CUT TO:
                    207 INT. ACCESS TUNNEL 207
                    McClane, breathless, reaches the ladder. The grid above him is
                     bigger than a doorway, made of heavy industrial steel. (X)
                                    RADIO VOICE
                     Isee your lights. Wheels down.
                    5 seconds ETA.
                    McClane checks his pistol clip with a snap.
                    Come to poppa, you son-of-a-bitch-
                    He flies up the ladder - and BRUISES his shoulder against the
                    locked grid.
                                   CUT TO:
                                   )208 THE PLANE 208
                                   DROPPING -
                    209 STUART AND SOLDIERS - IN JEEP ON AIRFIELD 209
                    Their BREATH clouding inside the still cold JEEP as it BOUNCES
                    along. Garber shines a FLASHLIGHT into the falling snow,
                    illuminates a snow-covered runway number sign: "EIGHT WEST."
                    The miltary plane ROARS overhead!
                                   210 THE TUNNEL 210
                    BLAM! BLAM! McClane shoots off the lock apparatus of the grid!
                    A RICOCHET PINGS off one of the grids hydraulic hinges and
                    McClane winces as metal splinters sail by. Then he begins to
                    muscle the heavy grid upwards.
                                   211 UP ABOVE 211
                    A FIELD of SNOW and ICE. But now a BLACK RECTANGLE EMERGES from
                    it - it's the TUNNEL GRID, SNOW falling through it - the damn
                    thing must weight over 300 pounds - McClane gets his head and
                    shoulders up and out. Looks at -
                    212 THE PLANE - HALF A MILE AWAY 212
                    about to hit the runway -
                    213 BACK TO SCENE 213
                    McClane pushes upwards - grunts - when he shifts his grip his
                    SKIN RIPS on the cold metal - with a grimace, he pushes his
                    rifle out, starts to follow -
                                   214 BELOW 214
                    the damaged hydraulic hinge suddenly SNAPS with a squish of thick
                                   215 ABOVE 215
                    the 300 pound grid THUDS down on McClane's back. He GROANS,
                                   216 THE PLANE 216
                    SCREECHES down on the runway!
                    217 THE SCENE - BLAZING FAST INTERCUTS 217
                    A) MCCLANE - dazed, trapped, he looks up and SEES -
                    B) THE PLANE - 1/4 mile away, coming right towards him-
                                   ) 217 CONTINUED - 217
                    C) MCCLANE - struggling - still PINNED to the
                    runway like a bug in the Natural History Museum.
                    Now we HEAR the ROAR of the. jet's ENGINES -
                    D) THE PLANE - 1/8 mile away -
                    E) MCCLANE'S FEET - still in the tunnel, they GROPE
                    for leverage on the steps -and SLIP! Now they kick
                    away at AIR -
                    218 MCCLANE AND PLANE - IN ONE SHOT 218
                    It's.coming, coming, COMING. Desperate, McClane sees that part
                    of the rifle is half under the grid. Now, he puts all his energy
                    into levering the rifle against the steel.
                    Slowly, slowly, sweat breaking out on his forehead, he levers the
                    rifle higher and higher, the rifle in turn levering the grid
                    upward, an inch at a time finally, it's high enough for him to
                    JAM the rifle's bayonet ring into the grid while the cheek notch
                    of the stock perches precariously on the lip of the hole.
                    McClane DIVES OUT OF THE HOLE.
                                   219 NEW ANGLE 219
                    McClane rolls away from the wheels, which miss him by inches.
                    The PLANE SMACKS into the half-open grid, which goes FLYING, the
                    plane hardly dented, the rifle SNAPPING like a toothpick, the
                    scrambler CRUNCHING like a bug
                    McClave kisses asphalt, WINCES at the SCORCH of jet exhaust five
                    feet over his head.
                                   220 THE PLANE 220
                    Skids roughly to a stop a hundred yards away.
                    McCl:ane:gets to his feet, sucks in air - and heads for the plane.
                    221 STUART AND SOLDIERS - SAME TIME 221
                    Close enough to SEE the plane as it STOPS -
                    There -!
                    222 INT. PLANE 222
                     Esperanza secures the controls, moves to the doorway and spins
                     the wheelock. It opens with a HISS and the steps DROP DOWN. (X)
                    r-) 222 CONTINUED - 222
                    (breathing deeply) (X)
                                   MCCLANE'S VOICE
                    Not yet.
                    McClane's FIST smacks in, knocking Esperanza back from the door.
                                   223 NEW ANGLE 223
                    McClane comes up the steps, gun leveled at the startled fugitive.
                    Thought you'd pull this off, didn't
                    you? I guess you didn't count on
                    me being here. Actually, I didn't
                    count on me being here.
                    W-who are you?
                    Just a cop who's spent half his career
                    busting scumbag lowlife dope dealers.
                    Looks like it's business as usual.
                    Think this will look good on my
                    Suddenly BULLETS PING on the hatch inches from McClane's head.
                    NcClane 'DIVES and rolls into the cabin - FIRES TWICE out the door
                    and then almost on instinct whirls -
                    Esperanza's snatched up the rifle from the dead corporal but (X)
                    McClane's SHOT hits him in the SHOULDER. With a HOWL, Esperanza
                    falls backwards but hangs on to the gun.
                                   224 THE HATCHWAY 224
                    GARBER and another man are there, rifles UP -
                    BACK TO SCENE
                    McClane FIRES, blowing a hole in h m so ' THROAT, and as (X)
                    Garber's slugs come closer, McClane IVES into the cockpit,
                    BULLETS smacking all around him from Garber and Esperanza -
                    THE COCKPIT 225 -
                    McClane SLAMS the door behind him, LOCKS IT. BULLETS PING into
                    the door, which INDENTS from the hits which don't penetrate it.
                    226 OUTSIDE THE PLANE 226
                    GARBER helps Esperanza down the steps. Stuart runs to him.
                    (indicating the wound)
                    I'm all right - he said he was a
                    A policeman -
                    PUSH to Stuart. He knows which policeman...
                    He went in the cockpit -
                    He's going to hell.
                                   227 COCKPIT 227
                    Silence. McClane REACTS to the.two dead men sharing the tiny
                    space with him... the SNOW and GLASS everywhere... and then he
                    crawls to the door, gingerly tries it.
                    IT WON'T MOVE. He tries harder.
                    228 OTHER SIDE OF DOOR 228
                     A RESCUE AXE is across the door like a barricade.
                    229 IN THE COCKPIT. 229
                     McClane looks worried - and then
                     McClane! I assume it's you, McClane. (X)
                    230 EXT. FRONT OF PLANE - NIGHT 230
                    Stuart, Esperanza and two of the others ring the nose of the
                    plane, weapons out.
                    Garber - the last man - comes up, delayed by locking McClane in
                    the cabin.
                                   130 CONTINUED - 230
                     You're ite a little soldier. So
                     - consider this a mi itary unera
                     And he OPENS FIRE. The others instantly join in.
                    231 INSIDE THE COCKPIT 231
                    What's left of the glass IMPLODES, and ricochets begin SLAMMING
                    around the room - McClane eats floor, but the snaking lines of
                    bullets criss cross the cockpit, searching him out -
                    HOLY MOTHER OF GOD -
                    Glass rakes his forehead, blood misting his vision - He crawls
                    N to the door - throws his weight against it - nothing -
                                   232 OUTSIDE 232
                    Having decimated the front of the plane, Stuart signals and now
                    they flank the sides. What's left of the window glass reflects
                    their FIRE like a Fourth of July show - Esperanza alone SMILES as
                    he shoots -
                                   233 MCCLANE 233
                    he's HIT in the left hand.
                                   234 OUTSIDE 234
                     How many grenades we have?
                                    2 EACH -
                     Use 'em.
                     Pop. Pop pop pop. Each man PULLS TWO PINS - THROWS - Then they
                     run for their jeep, carrying the body of their comrade- (X)
                    235 IN THE COCKPIT 235
                    Clunk-clunk-clunkCLUNK. TEN GRENADES land and BOUNCE here like
                    hailstones from hell. They SIZZLE. McClane rolls over and
                    suddenly SEES -
                    236 LEVER BESIDE PILOT'S SEAT 236
                    CAMERA PUSHES to it: "EJECT."
                                   2 3 7 MCCLANE 237
                    in one move vaults into the seat, snaps on the belt, grabs the
                                   LEVER -
                                   238 WIDER 238
                    with a WOOSH and a ROAR, the ejection seat ROCKETS UPWARDS, the
                    steel vanguard above McClane's head PUNCHING THROUGH what's left
                    of the canopy.
                                   239 OUTSIDE 239
                    the cockpit EXPLODES! It's all so FAST and EYE SEARING we're not
                    sure if McClane is clear - but then we SEE
                    240 MCCLANE - IN MID AIR 240
                    No sound, now, just the WHOOSH of the air going past - the
                    ejection seat is TUMBLING -
                                   JESUS -
                    WHOMP! The 'chute OPENS with violent YANK.
                    He DROPS from frame.
                    241 THE BURNING PLANE 241
                    At the jeep, Stuart and his men REACT as WATER from MELTING SNOW (X)
                    runs past their feet. Garber POINTS to the ghostly image of
                    the 'chute, half a mile away -
                                   THERE -
                    But Stuart turns at the SOUND of SIRENS.
                                   242 NEW ANGLE 242
                    The calvary is coming... and it's not his.
                    243 BACK TO SCENE 243
                    Fall back to the Church! Now! (X)
                    Helping the wounded Esperanza, they vanish into the darkness.
                                   CUT TO:
                    THE PARACHUTE - ON THE GROUND 244
                    BILLOWING as something struggles under it.
                                   MCCLANE'S VOICE
                    Where's - the fucking - door?
                    He staggers out from under the yards of silk, COVERED IN SNOW
                    -fights the vertigo from his flight - runs off.
                                   CUT TO:
                    245 INT. HOLLY'S PLANE - NIGHT 245
                    The stewardess sticks her head into the cockpit.
                    They're getting pretty squirrely back
                    there... in fact, so am I.
                    We're right over Washington... see
                    if you can get any TV. That'll settle
                    'em down.
                     Works for me. I'll -
                     She STOPS. She's SEEN
                    246 THE FUEL GAUGE - HER POV 246
                     Almost on EMPTY -
                    247 BACK TO SCENE 247
                     She REACTS. No one says anything. She composes herself... goes
                    248 INT. BUSINESS CLASS 248
                     Holly types a line on her computer. Then she REACTS to the (X)
                    SOUND of crumpled paper. CAMERA ADJUSTS as she looks at
                    Thornberg. He's LISTENING to the TAPE RECORDING with an earplug
                    and then drafting his own document.
                    He crosses out a line, adds a word - looks at it proudly. (X)
                    (sotto, to himself)
                    Boy, am I good...
                    Writing your acceptance speech for
                    the video sleaze awards?
                    ..� 248 CONTINUED - 248
                    (in odd good humor)
                    Try Pulitzer, Mrs. McClane.
                    But now that stewardess reaches up and turns on the TV PROJECTOR.
                    As the lights DARKEN, Thornberg decides this is perfect cover.
                    pretending he's getting a blanket overhead, he slips his credit
                    card in one of airphones. Then he moves down the aisle, phone
                    I inside his jacket.
                    Sir, please - we may be landing at
                    any moment -the seat belt light is-
                    I- I'm going to be sick -
                    He makes a croaking noise to sell it, stumbles into the lavatory.
                    (dials, then:)
                    This is Richard Thornberg. Put me
                    through to the News Director.
                    I know he's getting ready for the
                    broadcast, that's why I want him!
                    Now get him or start typing your
                                   CUT TO:
                    249 INT. AIR POLICE OFFICE 249
                    The DOCTOR patches McClane's right hand; one of the soldiers
                    gives McClane a cigarette.
                    Esperanza's down... but he's hurt.
                    I killed one more man... that's six (X)
                    they've lost all together.
                    Maybe if we knew how many they had
                    to start with, we could get excited.
                    But if they got fifty guys, it's a
                    little early to break out the (X)
                    McClane, we don't need a loose cannon
                    on this deck. What if they decide
                    to crash another plane in retaliation
                    for your little stunt?
                                   249 CONTINUED - 249
                                   (INDICATING BARNES)
                    Last I heard, they can't do that
                    again. And if I grabbed Esperanza,
                    the situation would be over.
                    Maybe they're more creative than you
                    think! McClane, we're here to jerk
                    off that cocksucker until he tries
                    to take off - period! This time
                    you're the wrong guy in the wrong
                    place at the wrong time!
                    McClane stands, glares at the two officers. He flips away the
                    cigarette, walks away, pissed.
                    .The story of my life.
                    But the enlisted men seem sympathetic. And so does
                                   250 BARNES 250
                    Who now pulls McClane aside.
                    McClane. You said they showed up
                    there right away?
                    Stuart's guys? Yeah. That means
                    they're on the field or close -
                    I think I know where.
                    Interested, McClane'follows Barnes around the corner.
                    251 WHEN THEY'RE ALONE 251
                    Barnes unfolds some.plot plans.
                    These are the old plans when the
                    longer runways went in... that's
                    twelve years ago. And it looks like
                    they did some modifications on site...
                    moved Tracon, phone, ILS - all the
                    underground stuff -so they could
                    handle drainage. If I'm right, all
                    of it would run along the edge of
                    the airport property - and go right
                    past this neighborhood.
                    �. - 251 CONTINUED - 251
                    So - if they know this too - they
                    could be sitting around the fireplace
                    and hanging their fucking stockings
                    in one of these houses?
                    Maybe. Yeah. Well, seventy eighty
                    per cent, five percent either way-
                    Are you sure or not?
                    I was sure about tying into the
                    antenna array. And... and I got
                    five officers killed.
                    You didn't do that - you did your
                                   JOB -
                    I had a choice and I made it. But
                    those cops didn't have a choice, and
                    neither do those soldiers now. I'm
                    an engineer, McClane. It's supposed
                    to a wires and circuits... iron
                    and steel. Not flesh and blood.
                    Not lives. If...if I'm wrong again...
                    I don't want anyone else to get
                    orders that could get them killed.
                    (after a moment)
                    Then how would you feel about a
                                   CUT TO:
                    252 INT. HOLLY'S PLANE - NIGHT 252
                    The passengers' patience has begun to frazzle. The Older Woman
                    beside Holly is no exception.
                                   OLDER WOMAN
                    Somebody ought to get their ass kicked
                    for this mess, that's for sure.
                    It's hard to blame anyone for the
                                   WEATHER -
                                   252 CONTINUED - 252
                                   OLDER WOMAN
                    Yeah? What about that porker Willard
                                   (TO HERSELF)
                    I shoulda taken the bus. At least
                    they can pull over for food and gas.
                                   253 HOLLY 253
                    I REACTS to what the woman's said. As the Stewardess PASSES, Holly
                    signals her - RISES halfway to meet her.
                    I... was just wondering. Our flight
                    was only supposed to.be 5 1/2 hours- (X)
                                   (ALMOST SHEEPISH)
                    Do we have enough fuel for all this
                    endless circling?
                    Pause. The Stewardess" face eases into an official smile.
                    Oh, of course we do. They anticipate
                    little proems like this.
                    She moves away. We TIGHTEN on Holly. She's chilled by the lie.
                    Worried, she TURNS... looks at the AirPhone. X)
                                   CUT TO:
                    254 TIGHT ON MCCLANE'S WAIST 254
                    HIS BEEPER SHOWS as he CLIMBS something - we WIDEN.
                    He and Barnes are outside a HOUSE that backs up to the Airport.
                    Both peer over the fence. It's a modest DC suburban tract job.
                    People TRIM a TREE. It could be Norman Rockwell.
                    Hell. These people are hanging their
                    Goddamn stockings.
                    They DROP down into the snow, CRUNCH to the next fence. Look
                                   255 SECOND HOUSE 255
                    No tree: People having dinner, a MENORAH burning on the
                    - and these people aren't.
                    r.� 55A NEW ANGLE 255A
                    They've come to a corner; now they go back to the street, spread
                    Barne's map out on the hood of Barne's still humming CAR. Far
                    behind them, we SEE the illuminated airport TOWER, centered in
                    the dark blot that should be brightly active runways.
                    Barnes reaches inside his jacket, fumbles in his jammed plastic
                    pocket thingie for a little flashlight. He checks the map.
                    Four more possibles. Three houses...
                    and a church.
                    They cross the intersection on foot, walk over a lawn. It's
                    further to the next place; more prosperous yard. Suddenly
                    McClane puts up his hand -Barnes stops - both look at -
                    257 NEXT PROPERTY - THE CHURCH 257
                    Baker is walking, almost casually, around the rear of the house.
                    258 BACK TO SCENE 258
                    McClane and Barnes huddle, whisper.
                    Could be a sentry -
                    And he could just be out for a walk-
                    Then why is he going over his own
                    259 THEIR POV - CLOSER 259
                    Indeed, gar's steady progress has made a trench around the
                    church property, and the distinctive PRINT of his galoshes now
                    makes double images.
                    260 BACK TO SCENE 260
                    Stay here. Get ready to call the
                    I thought they were Army.
                    Who the fuck cares, just be ready.
                                   260 CONTINUED - 260
                    Saying this, McClane takes his own gun from his holster and puts
                    it in the back of his trousers... then moves off.
                    Barnes takes out a cellular phone, lurks under a tree.
                                   261 MCCLANE 261
                    moves from shadow to shadow and tree to tree like an Indian
                    I stalking a settler... closer... closer...
                                    CUT TO:
                    262 INT. HOLLY'S PLANE - NIGHT 262
                     Holly drops her credit card in the airphone. Starts to DIAL.
                                    CUT TO:
                                   263 MCCLANE 263
                     Baker is only a yard away. Closer - closer - and then -BEEP! (X)
                                   264 BAKER 264
                     Instantly whips his head around, the hidden MAC 10 coming up, but
                     E he winter outerwear slows him. McClane. DIVES on him. (X)
                                   265 BARNES 265
                    REACTS, begins to dial the phone. REACTS to
                    266 INSERT - PHONE 266
                    The dial reads NO SVC.
                    267 BACK TO SCENE 267
                    He raises the antenna, realizes he's got to move - runs towards
                    the street.
                    268 MCCLANE AND BAKER 268
                     CRASH into the fence with a CRACK. McClane ha Baker gun (X)
                     hand and SLAMS it down on the fence n -again
                     -blood wells - the gun DROPS ker OW", taking McClane away (X)
                     from the weapon -They trade bru unches -
                    269 INT. THE VIRGINIA CHURCH - NIGHT 269
                     Through the rear window here we SEE the fence GIVE, and bend (X)
                    AGAIN, but the SOUND is muffled by the WIND and the GLASS.
                                   CUT TO:
                    270 INT. AIRPORT POLICE OFFICE - NIGHT 270
                    Lorenzo WRITES as Grant REACTS -
                    You're where - you crazy idiot, why'
                    didn't you -
                    271 BARNES - INTERCUT 271
                    He's down the block, STANDING on a snow covered car -
                    Just get here,.this is it, move your
                    fat ass will ya -?
                    Grant signals his Sergeant and then it's like D-Day as ALL the
                    SOLDIERS and some COPS hustle out -
                                   CUT TO:
                    272 MCCLANE AND BAKER-.' 272
                     halfway to their feet, the snow bloody between them s3ke (X)
                     KARATE KICKS McClane back into a tree, dazing him---Baker jumps (X)
                    in, RIPS McClane's coat open and -
                    GRABS for the holster! As his hand comes up empty, McClane
                    GRINS, head butts him!
                                   CUT TO:
                    273 VIRGINIA STREET -'NEAR AIRPORT -NIGHT 273
                    274 INT. ARMY TRUCK 274
                    Soldiers on the benches - Grant standing, rocking like a commuter
                    - Telford, only one unarmed, still MONITORING the radio -
                    Gentlemen. We have... a situation
                    CLICK CLICK SNAP. AMMO CLIPS are broken out - all PIGGYBACKED
                    like combat hardened troops do it, two banana clips taped
                    together with blue tape. (X)
                                   CUT TO:
                    275 MCCLANE AND BAKER 275
                    Baker yanks a combat knife from his boot and'DIVES on McClane
                    -bo i HIT the wall of the church's detached garage -SNOW and
                    ICE fall from the roof, but both men ignore it -
                    McClane's LEFT hand can't force awa� akers RIGHT hand and
                    the KNIFE.
                    The bastard is STRONG and now his left jumps out and pins
                    McClane's RIGHT so-it can't help-- The knife creeps towards
                    McClane's throat! McClane is fucke -and then his desperate eyes
                    look at something nearby -
                    We FOCUS CHANGE - it's a big ICICLE -with his last strength
                    McClane.BREAKS out of Baker's grip, grabs the icicle-
                    -and STABS it RIGHT in Baker's EYE!
                                   276 REVERSE ANGLE 276
                    Baker SCREAMS and falls back - McClane ROLLS with him and with
                    both hands PRESSES the ICICLE HOME SIX MORE INCHES right into the
                    son-of-a-bitch's brain.
                    The body TWITCHES, DIES. McClane falls against the garage as the
                    snow turns CRIMSON all around. Catches his BREATH... and then
                    REACTS to a WHISTLE.
                                   277 BARNES 277
                    is in the street. Moving in a crouch, McClave heads towards him.
                    Barnes points to
                    278 ' E 6B' RS 7 278
                     their truck far down the street, they move forward silently and
                     expertly, shadows starting to surround the church.
                    279 BACK TO SCENE 279
                     Grant and Lorenzo come over.
                    McClane, what the hell do you think
                    you're doing, playing John Wayne?
                    How'd you like to spend the rest of
                    the night in a cell -
                                   LORENZO -
                    shut the fuck up and do something
                    useful. Seal off the street.
                    You can't talk to me like that -
                                   279 CONTINUED - 279
                    Oh, no, Carmine?
                    Sergeant! Get this... bureaucrat
                    out of Mr. McClane's face.
                    With pleasure, sir!
                    I And Lorenzo is HUSTLED away. McClane takes out a cigarette.
                    I was wrong. You're not an asshole.
                    i (lighting him up)
                    No, you were right. I'm just your-
                    kind of asshole.
                                   2ND SERGEANT
                                   (COMING UP)
                    Flanking the church now, sir. (X)
                    Close up the back, then we go in.
                    Fire only on my order.
                    McClane and Barnes watch as the soldiers start to close the net.
                                   280 A SOLDIER 280
                    moves forward on the lawn into a PRONE FIRING POSITION - and then
                    his GUN MUZZLE hits a TRIP WIRE in the SNOW!
                    281 IN THE CHURCH 281
                    Stuart's men REACT to and ALARM - instantly go to ASSIGNED JOBS!
                    Some grab weapons ,others.SMASHthe EQUIPMENT HERE! Esperanza,
                    bandaged, throws a coat on, grabs a pistol!
                                   282 OUTSIDE 282
                    Everyone DIVES for COVER as a STAINED GLASS WINDOW is BROKEN and (X)
                    a rifle POKES out. GUNFIRE lights up the street, REFLECTS on
                    the snow!
                    283 -INSIDE THE HOUSE 283
                    Gentlemen, you know what to do- (X)
                    j-� 283 CONTINUED - 283
                    Looks all around - all change their ammo clips, putting ones with
                    blue adhesive tape into their weapons --and then they RETREAT
                    Tr-om the front windows. We PAN them out the REAR and to the
                    FENCE behind the church - which they SMASH THROUGH.
                                   284 MCCLANE 284
                    taking cover behind a parked car, he HEARS the SOUND of
                    SPLINTERING WOOD -
                    They're. pulling out!
                    And he's on his feet, FIRING his pistol, here outclassed by the
                     assault rifles -
                                   285 WIDER 285
                    Grant signals his men - they FOLLOW McClane, RUSH the church
                    -there is NO MORE FIRE from the.front - some of the men SMASH
                    through the doors, others run alongside the church -
                    286 BEHIND THE CHURCH - CRANE SHOT 286
                    Stuart leads his men and Esperanza towards what LOOKS like BUSHES
                    about 30.yards behind it but as M .L].,ar and 8r reach them
                    and grab at FABRIC we REALIZE it is a SNOW CAMOUFLAGED TARPULIN.
                    287 REAR OF CHURCH 287
                    McClane is first here - DUCKS as GUNFIRE erupts ahead of him
                    -then he FIRES at the MUZZLE BLASTS in the darkness - then REACTS
                    to the SOUND of GASOLINE MOTORS -
                                   288 HIGH ANGLE 288
                    as Stuart and Esperanza and the remaining men ESCAPE on hidden
                    SNOWMOBILES ! McClane FIRES twice at the
                                   289 REAR: SNOWMOBILE 289
                    Garber is on it - McClane's BULLETS rip through his CHEST -as he
                    falls off it SPINS OUT, ROLLS OVER.
                    290 INSIDE THE VIRGINIA CHURCH 290
                    The Airport police crash in behind the tailing soldiers. Barnes
                    looks at the smoking ruins.
                                   (SEEING IT)
                    That equipment! It could land our
                                   PLANES -
                                   ( 290 CONTINUED - 290
                                   (BLOCKING HIM)
                    Don't touch it! There were trip wires
                    outside - they.could have -
                    They did.
                    CAMERA RAKES to the sergeant, who is by a BLINKING BOOBY TRAP
                    hidden under a panel.
                                   A SOLDIER
                    Got one here, too - looks like C-4
                    and the mother fucker is primed-
                    Evacuate! Now!
                    290A EXT. CHURCH - NIGHT 290A
                     the soldiers and Barnes rush out, bowling over Lorenzo just as
                     he's heading in. As all dive into the snow -
                    290B WIDER 290B
                     The church EXPLODES, stained glass windows givingthedestruction,
                    an eerie BEAUTY as they SHATTER -
                    290C BACK TO SCENE 2-90C
                    As debris RAINS DOWN, everyone struggles to their feet. Lorenzo
                    spits out snow, looks around.
                    Hey. Where the fuck is McClane?
                                   CUT TO:
                    291 MCCLANE - PULLBACK 291
                    He's riding the snowmobile that cracked u , carrying the dead
                    man's assault rifle like the Duke on a horse!
                                   292 WIDE SHOT 292
                    He's coming up on the rear of the other vehicles!
                    293 BACK TO SCENE 293
                    Big BOUNCE over a mogul. As the 'mobile settles, McClane pulls
                    the rifle forward. He STEADIES IT alongside the WINDSHIELD of
                    the snowmobile.
                    X1294 THROUGH HIS SIGHTS - 294
                    We see STUART'S HEAD.
                    295 BACK TO SCENE 295
                    This is for flight one fourteen,
                    mother fucker -
                    He FIRES.
                                   296 STUART 296
                    UNTOUCHED. But he LOOKS back at the SOUND of SHOTS. HAND
                    SIGNALS his flanking riders.
                                   297 WIDER 297
                     Two of them PEEL OFF; Kan, riding double with ESPERANZA; VAX&, (X)
                     riding alone. Burke SWTTfCHES AMMO CLIPS to a red taped clip.
                                   298 MCCLANE 298
                     He AIMS at the APPROACHING SNOWMOBILES -FIRES -
                    299 KAH 299.
                     Again, UNTOUCHED! Now as he SWEEPS past Esperanza FIRES his
                                    PISTOL -
                    300 BACK TO SCENE 300
                     McClane DUCKS as bullets BLOW OUT his WINDSHIELD. He SWERVES
                     -and there's the other snowmobile that turned. Burke FIRES (X)
                     on FULL AUTO
                                   301 NEW ANGLE 301
                    RIDDLED with BULLETS, McClane's snowmobile CAREENS OUT of CONTROL
                    - goes'AIRBORNE - McClane TUMBLES from the seat - and the 'mobile
                    EXPLODES against a runway WIND REGISTER.
                                   302 WITH STUART 302
                    He looks back at the mini-FIREBALL, signals his men to regroup.
                    All DWINDLE in the landscape of the empty airfield.
                                   CUT TO:
                                   303 SNOW 303
                     which MOVES. McClane's HAND comes into view. Face bloodied by
                     glass, jacket ragged, body bruised, he should be looking for (X)
                     a doctor.
                    Instead, he's pawing through the snow - looking for the assault
                    rifle. And finds it, the stock broken. McClane pulls off the
                    clip. He peels off a round into his hand, then another.
                    There's PAPER WADS where brass should meet lead. (X)
                    Blanks... blanks?
                    .Paleing, he rummages in the snow, finds one of the soldier's
                    backpacks. More clips inside. First clip has live ammo. Second
                    clip - blanks CAMERA PUSHES in on McClane until he looks at
                    the red/blue tape and -makes the connection.
                    Oh, my God...
                    He gets. to his feet and RUNS.
                    304 INT. CAB - NIGHT 304
                                   STUART'S VOICE
                                   (FROM RADIO)
                    Attention, tower. This is Colonel
                    Stuart. Is our plane prepared?
                                   CUT TO:
                    305 EXT. AIRPORT - INTERCUT - NIGHT 305
                    Stuart and his men, on foot near the halted snowmobiles. LIGHT
                    in the distance; hangers; the terminal.
                    It is. It's in hanger eleven. (X)
                    That's the most remote building we've
                    Stuart looks at his map, then the hanger mentioned; not far.
                    We're on our way. If there's another
                    attempt to stop us like the one-you
                    just made, I will fire several Stinger
                    missiles into your terminal. Do I
                    make myself clear?
                    Quite clear.
                    Good. Please have a ground crew there
                    to confirm the plane's condition. (X)
                    306 EXT. VIRGINIA CHURCH 306
                    The Army trucks are parked by the still intact church GARAGE. In
                    the B.G. FIRE FIGHTERS spray down the smoking RUIN; ice FORMING
                    and sparkling everywhere.
                    Grant uses the field radio Telford has set up in the back of the
                                   (INTO RADIO)
                    You're quite capable of confirming
                    it yourself, Colonel. Please don't
                    ask us to gift wrap potential hostages
                    for you.
                    Major Grant, .isn't it?
                    If you remember me, Colonel, you'll
                    remember I know the drill as well
                    as you do. Check out your own fucking
                    We move out in five minutes. Body
                    armor for everyone - full metal
                    jackets. We will take them in the
                    hanger or we will shoot that fucking
                    plane out of the sky. Lorenzo, take
                    your men back to the airport and seal
                    off every exit in case anyone tries
                    to break out on the ground.
                    .You got it.
                                   CUT TO:
                    307 INT. TV STUDIO - NIGHT 307
                    A chaotic meeting of news staffers - the PRODUCER waves for
                    quiet,, hovers over a speaker phone.
                    Dick, this is nuts - first, you do
                    Siamese Twin drag queens, not hard
                    news; and second, every station in
                    I town has people out at the airport
                    and none of them has heard even a
                    whisper of this shit you're running
                    ' 08 INT. AIRPLANE LAVATORY - INTERCUT 308
                    Well, none of them is me. You want
                    proof? Try this -
                    And he PLAYS the MICROCASSETTE. We HEAR Barnes' earlier
                    In the TV station, STUNNED reaction.
                                   JESUS -
                    I want you to go live, now. Key me
                    in from the files, a publicity shot,
                    whatever, Connie's got one. And a
                    map, steal one from weather-
                    We're on it, we're on it -
                                   (GIVING ORDERS)
                    We're cutting in in five minutes!
                    Tell the affiliates if they want in
                    they got three minutes to shout!
                    Network, here we come...
                                   CUT TO:
                    309 EXT. VIRGINIA STREET - NIGHT 309
                    Local POLICE keep curious NEIGHBORS behind barricades while
                    SOLDIERS get ready at the trucks.
                    310 INSIDE AN ARMY TRUCK - NIGHT 310
                    --"I was in Grenada", he says!
                    All LAUGH'- the bitter laughter of the battlefield.
                    Grenada - five minutes of firefight
                    five weeks of surfing!
                    LAUGHTER, which SUBSIDES a bit as Grant looks at his watch..
                    a look DUPLICATED by the others.
                    (oblivious to this,
                    I wish I was with you guys for that.
                                   310 CONTINUED - 310
                    So do we, kid.
                    Really, sir?
                    Yeah. Then we wouldn't have to do
                    And in a flash, Grant DRAWS his combat knife and SLITS the kid's
                    Telford FLOPS BACK off the bench. Grant is already digging into (X)
                    the cargo pocket of his trousers and he comes out with a
                    transceiver - the same distinctive scrambled transceiver used by
                    Stuarts men!
                                   (INTO TRANSCEIVER)
                    Eagle Nest, this is Hatchling. On
                    schedule and in place.
                    311 INT. HANGER - NIGHT 311
                    Stuart holds his transceiver while he looks up at the plane
                    prepared for him. One of his men comes out, gives him the thumbs
                    up sign.
                                   (INTO TRANSCEIVER)
                    Roger, Hatchling. We are secure here.
                    You have a green light. Repeat, green
                                   CUT TO:
                                   312 MARVIN 312
                     whistling, stacking dolls, shoes, more flotsom from the Airport
                     sea he's scavenged. At a SOUND he TURNS - (X)
                                   313 MCCLANE 313
                     shivering, battered, trying to come down a ladder. He FALLS the (X)
                     rest of the way.
                                    CUT TO:
                    314 THE SOLDIERS - ON VIRGINIA STREET 314
                     close the back of the truck - they DRIVE AWAY. Lorenzo, getting (X)
                     in his car, gives them a thumbs up.
                                    1 514 CONTINUED - 314
                    t.Y, J
                     Grant, grinning, returns it. (X)
                     315 TIGHT ON A TV SET 315
                    GROANS. MOANS. CAMERA PANS and we SEE we're in a BAR in the
                    AIRPORT TERMINAL.
                    (coming on screen)
                    This is a special bulletin from WZDC (X)
                    News. There was a plane crash earlier
                    this evening at Dulles, where other
                    aircraft continue to circle, with
                    no explanation from Airport or FAA
                    officials. Now, with an exclusive
                    KLA report, here is Dick Thornberg,
                    reporting from the skies over
                    That gets all the sports fan's attention. Now a SUPER of I
                    TH rnberg's FACE comes up in the corner of the newsroom.
                                   THORNBERG'S VOICE
                    Tom., I'm one of the thousand people
                    who has been circling our Nation's
                    capitol, under the assumption that
                    whatever problem was going on far
                    below me was a normal one. But the
                    truth is far from normal - the truth
                    is terrifying.
                                   CUT TO:
                    316 INT. TERMINAL - NIGHT 316
                     People walking along.- and then jumping out of the way of- (X)
                     MARVIN drives, happy as hell; beside him, in the seat usually (X)
                    reserved for the sick or elderly, is McClane, slowly coming back
                    to normal from his ordeal.
                    318 THORNBERG -IN LAVATORY 318
                                   INTO PHONE)
                    This is a recording of a conversation
                    between Dulles tower and the captive
                    aircraft overhead.
                    With a smug smile, Thornberg plays the tape again.
                    319 IN THE AIRPORT BAR 319
                    The people LISTEN as the tape of Barne's earlier broadcast PLAYS.
                                   CUT TO:
                    320 AIRPORT POLICE OFFICE - NIGHT 320
                    The golf cart SKIDS to a halt at the receptionist's desk.
                    Lorenzo comes thundering out of his office.
                    McClane! Are you out of your fucking
                    This man's been through serious shit,
                    give him a break-
                    Who the fuck are you?
                    (pointing to his
                    Marvin, the janitor. Don't need that.
                    custodial enginner crap -
                                   (GRABBING LORENZO)
                    Grant - the Terrorist Team -where
                    are they?
                    They left to shoot those bastards
                    out of the sky -
                    They're not gonna do that -they're
                    gonna get on the same Goddamn plane
                    and leave with him! Before the Army
                    canned him, Stuart must have loaded
                    that unit with his own guys -
                    But - that firefight at the house-
                    A side show to jerk us off - buy them
                                   TIME -
                    You're completely around the fucking
                    bend, McClane. And you know what
                    (reaching for handcuffs)
                    You're under arrest -
                    McClane steps back - raises the assault rifle - FIRES.
                    j �� 3 21 NEW ANGLE 321
                    Lorenzo STAGGERS back in shock - and then realizes he's
                    Wha - how -
                    (showing the clip)
                    These are the bullets they used out
                    there tonight.
                    Holy shit -
                                   (INTO PHONE)
                    This is Chief Lorenzo. I want every
                    officer recalled now and assembled
                    in body armor with full weaponry in
                    the motor pool in five minutes! It's
                    time to kick ass!
                    He slams the phone down - checks his pistol ammo and rushes out
                    the door - a startled - and appreciative - McClane beside him!
                                   CUT TO:
                    322 INT. AIRPORT BAR - NIGHT 322
                    As the TAPE RECORDING CONCLUDES, the patrons are in SHOCK.
                    Already several begin to RUN OUT.
                    CAMERA PANS AWAY from the terminal bar towards a GIFT SHOP.
                    There, all the PORTABLE TV's ON DISPLAY are BROADCASTING the SAME
                    THING. A CUSTOMER hearing this DROPS a CRYSTAL VASE.
                                   THORNBERG'S VOICE
                    (as tape ENDS)
                    Since then this reporter has learned
                    that the terrorists have virtual
                    control of the entire airport - a
                    fact the authorities have suppressed.
                    The terrorists promise more bloodshed
                    unless their demands are met; and
                    now that special Army Commandoes have
                    arrived at the airport, the liklihood
                    of a full scale and deadly battle
                    is dangerously close -
                    323 INT. TERMINAL - MAIN CORRIDOR 323
                     Suddenly full of SCREAMING PEOPLE.
                    324 FRONT OF TERMINAL 324
                     A mass EXODUS. People FIGHT for CABS.
                                    CUT TO:
                    �t 325 INT. CAB 325
                    They're watching this here, too.
                    Christ - that fucking asshole -
                    McClane is in Lorenzo's police car; a DOZEN other police cars
                    full of officers behind, lights SPINNING. Lorenzo leans out the
                    window like Ward Bond on Wagon Train.
                    Converge on Hanger 11 on all four
                    sides! When the city blues get here
                    with their backup, they can pick up
                    the pieces! MOVE OUT!
                    (aside to McClane)
                    McClane, you meet my nephew?
                    The other guy in the car is the asshole who towed the car. As
                    McClane REACTS, the caravan ROARS FORWARD, SIRENS WAILING -
                    326A NEW ANGLE 326A
                    And Lorenzo's car SMASHES into a TAXI. CAMERA CRANES UP and we
                    SEE that the police cars have run smack into the PANIC in the
                    front of the airport.
                    (shouting, barking orders)
                    Move that piece of shit! Henderson,
                    get some crowd control! Goddamn it,
                    clear the area-!
                     McClane jumps out of the car - looks around and SEES -
                                   327 327
                    thru OMITTED thru
                                   328 328
                    329 SAM - IN THE TERMINAL 329
                    watching the scene, trying to get it on video.
                                   CUT TO:
                    330 INT. HOLLY'S AIRPLANE 330
                    WIDEN from the TV SCREEN. Thornberg's broadcast is here, too!
                    A WOMAN SCREAMS. A MAN tries to get out of his seat and a
                    STEWARD forces him back.
                                   ` I 3 31 HOLLY 331
                    (as it sinks in) (X)
                    My God...
                    Then something else sinks in; she looks at the empty airphone
                    cradle on the wall gets quickly out of her seat - in mid-stride
                    she STOPS - takes her seatmate's PURSE. Then, she sidesteps
                    some panicked people, goes to the kitchen area.
                    And finds one of the special keys for the lavatories.
                    332 THORNBERG - IN LAVATORY 332
                                   (INTO PHONE)
                    And so it continues: A standoff
                    between terrorists and authorities
                    with the lives of thousands at stake.
                    But at least this time, in this place,
                    the truth, at least, is not among
                    the hostages because Richard (X)
                    Thornberc put his life and his talent (X)
                    on the line for humanity and country. (X)
                    Behind him, Holly silently opens the lavatory door.
                    .,and if this should be my final
                                   BROADCAST -
                    WHAM. She ZAPS him with the old lady's TASER. He TWITCHES -
                    DROPS! She picks up the phone. (X)
                    Amen to that, asshole.
                    (into phone, sweetly)
                    We're sorry, but Mr. Thornberg is
                    experiencing electrical problems.
                    We now resume our regular programming.
                                   CUT TO:
                    333 EXT. AIRPORT - NIGHT 333
                    McClane, Sam and the cameraman, forcing their way through the
                    crowd; Sam ABSORBING what McClane's told her.
                    Jesus. You give me this story, I'll
                    have your baby.
                    Thanks; but I'm looking for a
                    different kind of ride.
                    And he POINTS to -
                    334 HER NEWS HELICOPTER 334
                     across the tarmac -
                                    CUT TO:
                                   335 335
                    thru OMITTE thru
                                   336 336
                    336A INT% HANGER 336A
                     Stuart and his' a n d, at doors, on high
                     scaffolds to look out at the landing field hidden in the driving
                     snow. Stuart looks at his watch.
                    336B1 EXT. HANGER 336B
                     here on watch. Something GLEAMS in the distance. He
                     SPS into his radio -
                                    (COCKING O )
                     Truck lights!'' =_ '-�
                    336C INSIDE THE HANGER 336C
                     Weapons are COCKED - soldier's muscles coil -
                    (into scrambled radio)
                    Hatchling, report in. What is your
                                   GRANT'S VOICE
                    My position is I'm gonna get my ass
                    reamed out by the best Goddamn soldier
                    on the planet 'cause I'm two minutes
                    Stuart GRINS, signals for the hanger door to be opened.
                    336D WIDER 336D
                    The big door RUMBLES UPWARDS. There's the truck, headlights
                    now ILLUMINATING the waiting plane.
                    Grant jumps down from the cab, gets a warm greeting from Stuart
                    in the headlight beams. Grant salutes him, then pivots to salute
                    Congratulations on your escape, sir.
                    Thank you, Major. Save them until
                    we are all safe - and excuse a left
                    handed salute, eh?
                    36D CONTINUED - 336D
                    (as the men gather)
                    My congratulations, gentlemen. You've
                    won a victory for democracy... my
                    pride and admiration... and a kick
                    ass vacation! Get on board!
                    With a CHEER, they run up the stairs 'to the plane.
                                    CUT TO:
                    INT. NEWS CHOPPER 337
                    WHOOSH! UP and OFF THE GROUND like an elevator. McClane REACTS.
                    Too rough for you, cowboy?
                    I - don't like flying.
                    Then what are you doing here?
                    I like losing worse.
                    That way.
                                   CUT TO:
                    338 EXT. 747 HANGER - NIGHT 338
                    The abandoned truck's lights still GLARE into the CAMERA -and
                    then something SHADOWS THEM -
                    338A WIDER - LOW ANGLE 338A
                    The 747 TAXIS out of the hanger, rolls towards the runway.
                    338E INSIDE - FIRST CLASS 338B
                    the soldiers take seats, cocky smiles on their faces -
                                   CUT TO:
                    339 INT. CHOPPER - NIGHT 339
                    McClane and the others fly along, LISTENING to the CONTINUING
                    APIRPLANE AND TOWER TRAFFIC - which is growing PANICKY.
                    Hanger Eleven -
                    Shit! They're leaving!
                    (f l340 THE HANGER - BELOW THEM - NIGHT 340
                     The plane. in a slow wide turn, the hanger empty, light spilling
                    into the snow -
                    341 BACK TO SCENE 341
                     Sam taps the Cameraman, who's already on the case.
                     Now what?
                    Get 'em to stop! Hover low, block
                    their path!
                    Play chicken with a 200 ton plane?
                    Hey, I'm crazy, but not that crazy-
                    Dulles, this is Western one-forty-
                                   HOLLY -
                    Request clearance on first available
                    runway. Repeat, request emergency
                                   CLEARANCE -
                                   TRUDEAU'S VOICE
                    Negative, one fourteen, our.situation
                    is unchanged.
                    Well, mine just changed, Goddamn it!
                    We're down to fumes and we have to
                    .land! And in five minutes we're
                    coming in one way or another!
                    (to the pilot)
                    That's my wife's plane, Goddamnit-!
                    I'm still not getting in front of
                    Pause - McClane furious - but the pilot equally tough.
                    Okay - then how about on top of it?
                                   CONTINUED I
                    i 341 CONTINUED - 341
                     And as both men realize they've cut a dangerous deal and'start to
                     smile, we (X)
                                   CUT TO:
                    390 INT. HOLLY'S PLANE - COCKPIT 390
                    The pilot and co-pilot look at each other as their fuel gauge
                    BEEPS and FLASHES YELLOW.
                                   (INTO INTERCOM)
                    Ladies and Gentlemen. Our situation
                    is critical.
                    391 INT. CABIN 391
                    The cabin attendants are lugging Thornberg's unconscious body
                    down the aisle. They strap him in as Holly and the others
                    listen, chilled to -
                    We have no choice but to attempt an
                    emergency landing. Please put on
                    your safety belts and assume crash
                    positions as instucted by the cabin
                                    392 392
                    \ 'ihru OMITTED thru
                                    398 398
                                    399 THE PLANE 399
                     engines GLOWING through the snow - (X)
                     399A THE CHOPPER 399A
                     TURNING, DROPPING - the door SLIDES OPEN - McClane SLIPS out (X)
                     -takes a deep breath - and MOVES to the SKID! (X)
                                    400 OMITTED 400
                                   CUT TO:
                    401 EXT. HOLLY'S PLANE - NIGHT 401
                    Diving, diving -
                    402 HOLLY - IN HER PLANE 402
                                   (BARELY AUDIBLE)
                    -yea, though I walk through the valley
                    of death -
                                   402 CONTINUED - 402
                    To her amazement, she HEARS another voice mumbling tearfully.
                    It's Thornburg, half-conscious.
                    I-I didn't mean any harm - I just
                    wanted ratings - I had to do it it
                    was sweeps week -
                                   CUT TO:
                    403 EXT. RUNWAY - NIGHT 403
                    the 747 taxis along - CAMERA PANS BACK and DISCOVERS the
                    CHOPPER, McClane on its skid, as it DROPS LOWER, MATCHES SPEED
                    with the pane.
                    404 INT. COCKPIT 404
                    Esperanza, Stuart, Grant. Starting to feel like what they think
                    they are: Heroes.
                    (knocking some off)
                    I've had enough fucking snow for a
                    They don't get much of it in the
                                   CUT TO:
                    405 EXT. 767 - MOVING 405
                    McClane - sitting on the skid - now DROPS to a HANDHOLD as the
                    skids come treacherously close to the PLANE WING. McClane's FEET
                    grope for the wing surface - but the two aircraft - one still
                    earthbound - MOVE APART. Pause. McClave TRIES AGAIN -MAKES
                                   406 THE 'CHOPPER 406
                    it PEELS AWAY, vanishes in the snowstorm.
                                   407 MCCLANE 407
                    panting, he wedges himself against an engine pod - and starts to
                    take off his jacket!
                    408 INT. COCKPIT 408
                    Esperanza lights a cigar - and then FROWNS.
                                   MIERDE -
                                   108 CONTINUED - 408
                     The aerilons! Something's wrong -we
                     can't take off -
                    He looks out the window - and REACTS to -
                    409 WING AERILON - HIS POV 409
                    Hydraulics GROANING because McClane is JAMMING his JACKET into
                    the groove where it hinges!
                    410 BACK TO SCENE 410
                    They can't fucking believe this. Then -
                                   (ALREADY MOVING)
                    i I'll do him.
                    (following, to Esperanza)
                    You just get us in the air, General.
                    You're the only one who can do it.
                    411 INT. CABIN - NIGHT 411
                    Stuart and Grant cock their weapons, move to the door. Grant
                    opens it.
                    412 EXT. WING 412
                    , Grant stands there, WIND whipping him. NO MCCLANE - just the
                    jacket, FLAPPING in the groaning aerilon.
                    Grant starts out - WHAM! McClane APPEARS from behind the door,
                    TRIPS him! Grant's gun BOUNCES off the wing, falls to the
                    ground rushing past below!
                                   413 STUART 413
                    in the doorway, tries to AIM - but
                    414 THE TWO MEN - STRUGGLING ON THE WING 414
                    are INDISTINGUISHABLE in the driving snow.
                    415 MCCLANE AND GRANT 415
                    Each HOLDING ON TO THE WING with one hand - FIGHTING with the
                    other - Grant POUNDS AWAY on McClane's face - but McClane
                    doesn't HIT BACK - he just GRINS like a maniac - PUSHES Grant
                    -pushes -pushes -
                    r"1 415 CONTINUED - 415 -
                    (through his teeth, as
                                   THEY STRUGGLE)
                    Too - bad - McClane -
                    The SOUND of metal SLIDING - a KNIFE APPEARS in Grant's hand-
                                   (RAISING KNIFE)
                    I really liked you -
                                   416 GRANT 416
                    too late, he realizes he's over the front edge of the wing! He
                    screams and FALLS -
                                   417 NEW ANGLE 417
                    RIGHT INTO THE ENGINE INTAKE! There's an awful GRINDING SOUND -A
                    SCREAM - McClane winces as RED SNOW SPLATTERS HIM -
                    418 REAR OF ENGINE 418
                     it could be hamburger pouring out - but before we can dwell on
                     it, the engine pod BLOWS!
                    18A MCCLANE - ON THE WING 418A
                     wipes red snow from his arm.
                    I like you better dead.
                    419 IN THE COCKPIT 419
                    a "FIRE" indicator goes on. Esperanza hits "EXTINGUISHER",
                    handles it - increases power to the other engines.
                                   420 STUART 420
                     trying-to SEE - finally - a GLIMPSE of what has to be McClane
                     -with a savage grin, Stuart takes off his rifle - discards the
                     bulky coat - knife in hand, he steps out.
                                   421 MCCLANE 421
                     moves hand over hand to a trailing section of the wing. Looks
                     over and down at
                    422 FUEL PORT - UPSIDE DOWN - HIS POV 422
                    -423 BACK TO SCENE 423
                    He reaches for it. Too far. Stretches. Gets it - fucker is
                    TIGHT. Wincing, he TURNS it a bit - then LOOKS up just in TIME
                    to SEE STUART, knife whizzing DOWN -
                                   424 NEW ANGLE 424
                    McClane ROLLS, but the knife CATCHES his SHOULDER. In pain, he
                    manances to KICK Stuart's KNEE - Stuart FALLS, almost goes over
                    the wing - McClane goes back to work on the fuel port -it,TURNS
                    another 1/4 turn -and then he has to abandon it to deal with
                    another CHARGE from Stuart.
                                   425 ESPERANZA 425
                    he TURNS the PLANE. Now he's ON THE RUNWAY PROPER.
                    426 MCCLANE AND STUART 426
                    FIGHTING for the knife. With.all his strength, McClane JAMS
                    Stuart's knife hand the aerilon crack! The next WIGGLE of the
                    metal CRUNCHES both hand and knife! Stuart SCREAMS and loosens
                    his grip on McClane, who PUNCHES him away, goes back to work
                    on the fuel port!
                    But he's hardly at it when Stuart RECOVERS, and, mangled hand
                    held clawlike, KICKS McClane's INJURED SHOULDER -KICKS AGAIN
                    -blood on Stuart's shoe - McClane is being worked over the edge
                    of the wing! He CATCHES at the last moment - now he IGNORES
                    Stuart's BLOWS, because -
                    427 UNDER THE WING 427
                    .McClane feels for the fuel port - turn, turn - it OPENS! Fuel
                    SPIGOTS DOWN - McClane feels the wetness on his hand -
                                   428 THE RUNWAY 428
                    a RIBBON of FUEL twists behind the moving plane, slick and light
                                   REFLECTING -
                    429 BACK TO SCENE 429
                    Stuart STOMPS on McClane's HANDS on the wing - CRUNCH -STOMPS
                    again - McClane SMILES -and then Stuart KICKS HIM OFF THE WING!
                                   430 MCCLANE 430
                    DROPS 20 FEET, SLAMS into the snow at the edge of the runway,
                    bounces like litter thrown from a moving car - the big REAR TIRE
                    almost rolls over him -
                                   431 STUART 431
                    with a victorious SHOUT he YANKS the coat from the aerilon,
                    throws it away - heads for the door -
                                   432 ESPERANZA 432
                     sees this, smiles -
                    433 MCCLANE -AT EDGE OF RUNWAY 433
                    crawls to a painful sitting position. Face impassive, he watches
                    the jet move away... and - incongrous as it seems - he lights a
                    cigarette, looks off at - (X)
                    434 THE LINE OF JET FUEL 434
                    running along the runway for 1/4 mile now -
                                   435 MCCLANE 435
                     battered like a car wreck victim, now he looks up into the dark
                     sky trying to find the SOUND OF JET ENGINES. Then he SEES -
                    436 LIGHTS OF HOLLY'S PLANE - HIS POV 436
                     careening down in a desperate fight, against gravity -
                    437 BACK TO SCENE 437
                    1 McClave takes a LONG PULL on the cigarette until the tip is
                    438 STUART - IN THE OPEN PLANE DOORWAY 438
                    about to close it, he looks back and for the first time SEES
                    439 THE JET FUEL - HIS POV 439
                    winding endlessly down the runway -
                                   440 MCCLANE 440
                     Hey, Colonel: Happy Fucking New Year.
                     And he THROWS THE CIGARETTE INTO THE FUEL.
                                   441 STUART 441
                     SEES the flame RACING TOWARDS HIM - turns to SHOUT to Esperanza -
                     NO! NO! TAKE OFF! TAKE OFF NOW! (X)
                    442 ESPERANZA - IN COCKPIT 442
                     RESPONDS to the cry, GUNS IT - (X)
                    442A THE PLANE 442A
                     STARTS TO-RISE - the wheels go into the AIR - (X)
                    j j42B REAR OF PLANE 442B
                    But as the craft rises, so does the FLAME, climbing the fuel
                    ribbon RIGHT INTO THE SKY and TO THE NEAREST ENGINE which
                    442C ESPERANZA 442C
                    TURNS at the EXPLOSION in time for a WALL OF FIRE that SHOOTS UP
                    THE WING and through the cockpit FLOOR, and then he's ON FIRE
                                   AND THEN
                                   443 STUART 443
                     taking all the remaining soldiers with it and then
                    444 THE PLANE - LONG SHOT 444
                     It EXPLODES ITSELF, WINGS and TAIL and BODY going nine different
                                   445 OMITTED 445
                                   446 MCCLANE 446
                    DIVES for the ground as the explosion ROLLS TOWARDS HIM.
                    447 IN THE CAB 4471
                    they watch the FIREBALL in the distance -
                                   448 MCCLANE 448
                    Gets to his knees, and LOOKS at the huge conflagration.
                    (towards the sky)
                    Honey... there's your landing lights.
                                   CUT TO:
                    449 INT. HOLLY'S PLANE - COCKPIT 449
                    Blackness and driven SNOW outside - and then - in an almost
                    cinematic FADE - through the glass we SEE the BURNING WRECKAGE
                    -and, more importantly - the LINE OF FIRE RUNNING CLEAN AND
                    STRAIGHT for almost a mile -
                    A line right along the runway.
                    Look - !
                    The pilot grabs controls desperately, trims the plane -
                    450 IN THE CABIN - 450
                     The passengers REACT as they level a bit -
                                    CUT TO:
                    451 EXT. HER PLANE 451
                    It descends, a bit erratic, but now it's ALONGSIDE the line of
                    fire, coming in from the wrong end of the runway, and then the
                    wheels BOUNCE, once, twice, and then a tire BLOWS but the pilots (X)
                    HOLD IT as it SWERVES and finally SKIDS TO A HALT, turning onto (X)
                    the grassy field.
                    Already we HEAR RESCUE SIRENS.
                    452 IN THE CAB 452
                    (listening to headset)
                    One forty is down! They used the
                    fire to see -
                    I -they used the fucking fire to see!
                                   AN ENGINEER
                    They can all do that - let's tell
                                   'EM -
                    They already know. Listen.
                    And sure enough, there it is - the SOUND of ENGINES -
                    453 EXT. SKY - LANDING PATTERN 453
                    And now the lights come down from the sky, in a neat and patient
                    row, the closest-filling the screen, the others dwindling down to
                    the size of stars.
                    454 MCCLANE - ON THE RUNWAY 454
                    Stumbles along, maybe thinking he's dead or dreaming... IGNORING
                    the giant PLANE LANDING BESIDE HIM, ignoring the FLAMES beyond
                    that - His concentration is totally on Holly's plane -now
                    another giant PLANE SKIDS down behind him - it's an assembly
                    line, like B-29's coming home from war - then he SEES what he's
                    praying for - breaks into a RUN -
                    Holly - HOLLY -HOLLY!
                    455 HOLLY - IN PLANE DOOR 455
                    HEARS this just as she goes down the RESCUE CHUTE, ushed by
                    Stewardess controlling their own tears -
                    ('.. 456 MCCLANE 456
                    CATCHES her at the bottom like a child - CARRIES HER AWAY.
                    457 THORNBERG - ON THE GROUND 457
                    groggy, he raises his hands in supplication to the stewardess.
                    She steps over him, puts her high heels back on - walks off.
                                   CUT TO:
                    458 THE NEWS 'CHOPPER 458
                    It CRUNCHES DOWN on the frozen earth near the runway. Sam and
                    her cameraman hit the ground running. SEE -
                    459 MCCLANE AND HOLLY 459
                    embracing - and then she's nursing his wounds, hearing his story-
                    460 BACK TO SCENE 460
                    The cameraman brings up his lens.
                    God, that's beautiful -
                    Yeah. It sure is.
                    And she yanks out his power cord, watches it dreamily.
                    461 THE AIRFIELD - NIGHT 461
                    as rolling stairs are put up to the planes and the passengers
                    pour down the steps into arms of friends, families, loved ones.
                    461A MCCLANE 461A
                    Sets Holly down, kisses her - then both TURN at a HONK.
                    Marvin is there in an airport cart. He looks at the chaos.
                    Damned if I'm cleaning up this mess.
                    McClane and Holly get in the cart. Marvin drives them away,
                    light BLINKING... and we PULLBACK until McClane and Holly are
                    just part of the crowd.
                                   THE END