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                              "DIE HARD"

                              Jeb Stuart
                             Revisions by
                           Steven E. DeSouza
                          based on the novel
                         Nothing Lasts Forever         

                            Roderick Thorp

        WITH REVISION #1  (Blue)    WITH REVISION #5  (Goldenrod)
        November 2, 1987            November 5, 1987

        WITH REVISION #2  (Pink)    WITH REVISION #6  (Salmon)
        November 4, 1987            November 17, 1987

        WITH REVISION #3  (Green)   WITH REVISION #7  (Blue)
        November 4, 1987            November 23, 1987
        WITH REVISION #4  (Yellow)  WITH REVISION #8  (Pink)
        November 5, 1987            November 30, 1987

                                                      SECOND REVISED DRAFT
                                                      October 2, 1987

A Gordon Company/Silver Pictures Production

                              "DIE HARD"

        FADE IN

1       405 FREEWAY - LOS ANGELES - EARLY EVENING              1 

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

2       INT. 747 - PASSENGERS - SAME                           2 

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

3       ON JOHN MCCLANE                                        3 

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

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

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

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

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

                  Fists with your toes.

                  Maybe it's not a fist when it's your
                  toes...I mean like out
                  that time zone tension.
                  Better'n a cup of coffee and a hot
                  shower for the old jet lag.  I know
                  it sounds crazy.  Trust me.  I've
                  been doing it for nine years.

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

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

        Peeking out from his jacket.

3-B     BACK TO SCENE                                          3-B 

        Recognizing the look, McClane smiles reassuringly.

                  It's okay.
                         (showing badge)
                  I'm a cop.
                  Trust me.  I've been doing it for

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

3-C     A PRETTY STEWARDESS                                    3-C 

        She bumps noses with the bear, gives a look.

                         (smiling, about the bear)
                  Maybe you should have bought her a


        He scrutinizes the nether regions of the bear, shrugs.

                  She doesn't complain.

                         (eying him)
                  Neither would I.

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

                                                      CUT TO:


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

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

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

                  What about dinner?

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

        She turns into:

5       HER OFFICE                                             5 

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

                         (in reply)
                  I was thinking more of roaring
                  fireplaces...mulled wine and a nice

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

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

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

                  Thanks Ms. Gennaro.
                  Do you think the baby can handle
                  a little sip?

                         (eyeing her)
                  Ginny, that baby's ready to tend bar.

                         (not giving up)
                  How about tomorrow night?

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


6       INT. NICE HOUSE IN SANTA MONICA                        6 

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

                  McClane residence.  Lucy McClane

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

                         (with affection)
                  Hello, Lucy McClane.  This is your

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

                  Mommy!  When are you coming home?!

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

                  Will you come say 'good night'?

                  Don't I always, you goose?
                         (enjoying Lucy's giggle)
                  Now put Paulina on the line, and
                  no searching the house for presents!

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

                                 JOHN, JR.
                         (hearing this, jumping up
                         and down)
                  Yeah!  Daddy!  Daddy!  Daddy!
                         (on second thought)
                  And a Captain Power!

                         (a little tightly)
                  Well, we'll see what Santa and Mommy
                  can do.  Goose, put Paulina on, okay?

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

                  Hello, Mrs. Holly.  You coming home

                  I'm working on it.
                  Did Mr. McClane call?                               *  

                  No ma'am.

        Holly hides a trace of disappointment.

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

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

        Holly's smile comes through again.

7       INT. LAX - EVENING                                     7 

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

                         (sotto, to himself)

        He looks around the terminal at:

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

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

7-B     BACK TO SCENE                                          7-B 

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

                  I'm John McClane.

                         (introducing himself)
                  Argyle.  I'm your limo driver.  Hey,
                  nice bag.

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

                  Argyle.  Don't you take this stuff?

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

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

                                                       CUT TO:

8       WITH THE LIMO - DUSK                                   8 

        TILT UP from the Lincoln emblem on the car.

        Both Argyle and McClane are in the front seat.

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

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

                  If your friend is hot to trot...I
                  know a couple of mama bears.
                         (turning to McClane)
                  ...Or is he married?


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

                  The girl was off today.  Hey, I
                  didn't expect you to sit up front.
                         (back to the topic)
                  So, your lady live out here?

                  The past six months.

                         (thinking about that)
                  Meanwhile, you still live in
                  New York?

                  You're nosey, you know that, Argyle?

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

                  It's okay, it's okay.

                  So, you divorced of what?

        McClane gives up.

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

                  But meant her moving here.

                  Closer to Japan.  You're fast.

                  So, why didn't you come?

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

                         (to the point)
                  You mean you thought she wouldn't
                  make it out here and she'd come
                  crawling on back, so why bother to

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

                  Like I said,'re fast.

                         (popping in a cassette)
                  Mind if I play some tunes?

        A hard RAP SONG blasts from the speakers.

                  How 'bout some Christmas music?

                  That is Christmas music.

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

9       HIS P.O.V.                                             9 

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

10-     OUT                                             OUT   10-
11                                                            11  

11-A    THE LIMO - CENTURY CITY                               11-A  

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

12      EXT. NAKATOMI BUILDING - NIGHT                        12  

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

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

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

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

                  I'll find someplace.

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

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

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

                         (taking the number)
                  You're all right, Argyle.

                  Just remember that when you sign
                  for the tip.
                         (pointing to the
                  They're paying for it, so don't be

        McClane grins, heads inside.

13      INT. NAKATOMI LOBBY - NIGHT                           13 

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

                  Holly McClane?

        The Guard points to a prominent touch screen computer console.

                  Just type it in there.

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

13-A    SCREEN - CLOSER                                       13-A  

        McClane types, "McClane, Holly".  Pause.  The screen replies,

13-B    MCCLANE                                               13-B  

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

13-C    THE SCREEN                                            13-C  

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

13-D    BACK TO SCENE                                         13-D  

                  Cute toy.

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

                  Thirtieth floor...                                  *  

                  Take the express elevator and get
                  off at the noise.

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

13-E    ANOTHER SECURITY GUARD                                 13-E  

        Patrolling a different area.

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

        which are cleverly worked into the decor of the lobby.

13-G    BACK TO SCENE                                          13-G  

        McClane reacts with bored professionalism, NODS to the guard.

                  Lots of hardware...

        The guard shrugs.  McClane gets in the elevator.

14      INT. ELEVATOR - NIGHT                                  14  

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

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

15      30TH FLOOR - SAME                                      15 

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

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

                         (to himself, shaking
                         his head)

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

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

15-A    TAKAGI                                                 15-A 

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

                  Excuse me, I'm looking for --

                  Holly Gennero?

                  Yeah.  How'd you know?

                  I've spent half my life on airplanes,               *
                  I can recognize someone who just
                  got off one.
                         (shaking hands)
                  I'm Joe Takagi, Mr. McClane.  I have
                  ...something to do with this company.

                  So I've heard.

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

                  Holly went to the Vault room to FAX
                  some documents...she should be back

16      HOLLY'S OFFICE                                         16 

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

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

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

                         (as Ellis rises)
                  Ellis, this is John McClane...
                         (with meaning)
                  Holly's policeman?
                         (to McClane)
                  Ellis is in charge of International

                         (shaking hands with Ellis)
                  That explains the recent deal with

        Ellis REACTS, runs a checking finger under his nose.

                  Relax, Ellis.  I'm off duty.

                         (eager to change the
                         subject, to McClane)
                  Can I get you anything?  Food?  Cake?
                  Watered down champagne punch?

                  I'm fine.
                         (looking through the
                  You throw quite a party.  I didn't
                  know they had Christmas in Japan.

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

        McClane laughs.  He likes this guy.

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

        The door OPENS.  Holly comes inside.

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

16-A    MCCLANE AND HOLLY                                      16-A 

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

                  I was hoping you made that flight.

                  I was hoping you were hoping that.

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

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

                  Yeah.  I remember our first date.

                  Show him the watch.

        As she hesitates:

                 Go on, show him.  What're you,
                         (to McClane)
                 A little token of our appreciation
                 for all her work.

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

                  Nice, but one of us is three hours
                  out of sync.  I think it's me.
                         (to Holly, pointedly)
                  Is there a place I can wash up?

                         (happy for the excuse)
                  Sure.  Follow me.

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

                                                      CUT TO:

17      EXT. NAKATOMI - NIGHT                                  17 

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

18      INT. PARKING GARAGE                                    18 

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

19      INT. LIMO - SAME                                       19 

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

20      INT. PARKING GARAGE - SAME                             20 

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

21      INT. ELLIS' OFFICE - NIGHT                             21 

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

                         (surprised, actually feeling
                         tension decline)
                  Son-of-a-bitch.  It works.

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

                  What are you doing?

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

                  That's okay...
                  ... I have an eye on his private

         McClane's face shows his relief (or rather, his attempt not
         to show any).

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

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

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

                  Oh...Where does he live?

        , Pomona, that's it.

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

         McClane fixes her with a look.

                  They would, huh?

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

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

                  ...I've missed you.                                 *

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

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

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

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

                  No matter what it did to our marriage -- ?

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

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

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

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

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

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

                        (mock bright 'radio' voice)
                  Hi.  John Gennero here.  I'm the
                  sensitive and supportive man of the

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

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

                  Don't I always?

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

                        (to himself)

22-     OUT                                              OUT   22- 
23                                                             23 

24      INT. BUILDING LOBBY - SAME TIME                        24 

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

                                 MAN #1 (THEO)
                  ...So, Kareem rebounds -- listen,
                  this is a great play -- feeds Worthy
                  on the break, over to A.C., to Magic,
                  back to Worthy in the lane and --

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

                  Boom...two points.

        (The speed with which the murder takes place sets the tone
        for the rest of the action.)  The killer moves behind the
        desk, stepping over a small pool of blood from the Guard.

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

                  We're in.

25      ON THE SCREEN                                          25  

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

26      INT. ELLIS' OFFICE - NIGHT                             26 

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

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

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

26      INT. BUILDING OPERATIONS CONTROL ROOM                  26       

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



29      OUT                                             OUT    29

30      CONTROL ROOM - SAME                                    30 

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

31      INT. LOBBY - SAME                                      31 

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

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

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

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

32-     OUT                                             OUT    32-
35                                                             35 

35-A    LOBBY - QUICK CUTS                                     35-A 

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


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

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

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

36      HANS                                                   36 

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

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

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

38      INT. BUILDING BASEMENT - PHONE ROOM                    38 

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

39      INT. ELLIS' BATHROOM - RESUME                          39 

                         (on phone)

40      INT. LIMO                                              40 

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

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

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

41      INT. PHONE ROOM - SAME                                 41 

        Karl cuts through the four tubes one at a time.

42      INT. ELLIS' BATHROOM - SAME                            42 

        McClane on the phone.

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

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

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

43      INT. LIMO                                             43 

        Argyle looks at the phone.

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

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

                        (to himself)
                 Well, call me back, John.  You got
                 the number.

        He hangs up and turns the volume back up.

44      ELLIS' OFFICE                                         44 

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

45      INT. SERVICE ELEVATOR                                 45  

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

                                                     CUT TO:

46      INT. ELLIS' OFFICE                                     46 

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

47      MCCLANE'S P.O.V.                                       47 

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

        They are four offices away and moving fast.

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

48      MCCLANE                                                48 

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

49      HALLWAY - FRANCE AND FRITZ                             49 

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

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

        A moment later the man, (trying desperately to pull up his
        pants) and the woman (buttoning her blouse) are pushed out
        into the hall and toward the larger group by Fritz.  The other
        terrorist, Franco, goes to Ellis' office and opens the door.

        It is...empty.

50      INT. STAIRWELL - SAME                                  50 

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

50-A    31th FLOOR                                             50-A

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

51      UNFINISHED FLOOR                                       51 

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

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


        He looks out the window at:

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

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

51-B    BACK TO SCENE                                          51-B 

        Frustrated, he watches this, knits his brow.


52      INT. 30th FLOOR (HOSTAGE FLOOR) - SAME                 52

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

52-A    HOLLY                                                  52-A 

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

52-B    WIDER                                                  52-B 

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

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

                         (soothing, in control)
                  Ladies and gentlemen, due to the
                  Nakatomi Corporation's legacy of
                  greed around the globe, it is about
                  to be taught a lesson on real power.
                  You...will be witnesses.
                  If our demands are not met, however --
                         (sad smile)
                  -- You may become participants instead.
                         (beat, checking notes)
                  Now, where is...'Takagi'?  Where is
                  the man who...
                         (slight smile)
                  ...used to be in charge here?

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

                         (quite civil)
                  Mr. Takagi.  How do you do.  My
                  name is Hans Gruber.

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

56      INT. STAIRWELL - 33rd FLOOR - SAME                     56 

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

                         (mumbling to himself)
                  32 construction...33 computers...

57-     OUT                                              OUT   57- 
58                                                             58 

59      INT. SERVICE ELEVATOR - NIGHT                          59 

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

                  Nice suit.  John Philips...London?

        Takagi stares at him, speechless.

                  I have two myself.
                         (beat, as he exits:)
                  I'm told Arafat shops there too...

60      INT. STAIRWELL                                         60 

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

61      MCCLANE'S P.O.V.                                       61 

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

62      MCCLANE                                                62 

        closes the door and slips back down the stairs.


        Hands enters, looks around.                                   *  

                                 HANS                                 *  
                  And when Alexander saw the breadth
                  of his domain, he wept.  For there
                  were no more worlds to conquer.
                         (to Takagi)
                  The benefits of a classical education.

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

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

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

        Hans straightens, looks hard at Takagi.

                  I believe you.
                  I read the article in Forbes.                       *  

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

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

                                                   JUMP CUT:

64      A COMPUTER SCREEN SPITS OUT:                          64 

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

65      THEO                                                  65 

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

                  I don't have that code...!
                         (beat; to Hans)
                  You broke in here to access out
                  computer?!?  Any information you
                  could get -- they wake up in Tokyo
                  in the morning, they'll change it!
                  You won't be able to blackmail our
                  executives or threaten --

        Hans barks him to silence:

                  SIT DOWN!

        Takagi complies.  Hans is abruptly compassionate and quiet.

                  Mr. Takagi...I'm not interested in your
                  I'm interested in the 640 million dollars
                  in negotiable bearer bonds you have in
                  you vault.

        ON Takagi's reaction.

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

                  You  What kind of
                  terrorists are you?

                  Who said we were terrorists?

65-A    MCCLANE - ENTERING THIS FLOOR                         65-A 

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

65-B    CONFERENCE ROOM - RESUME                              65-B  

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

                         (weighing the gun)
                  The code key, please...?

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

        Hans lifts the gun.

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

                         (aside to Karl)
                  I told you...

                  It's not over...

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

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

        He cocks the gun:

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


        BANG!!  He pulls the trigger:

66      OUT IN THE MUSEUM - MCCLANE                           66      *   

        reacts as if shot.

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

        The glass doors to the boardroom are splattered red and

66-A    INSIDE                                                66-A  

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

        Hans springs to his feet:

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

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

67      OUTSIDE - MCCLANE                                     67  

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

68      INSIDE - HANS                                         68  

        hears it.  Karl is the first to move:

69      KARL                                                  69  

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

70      KARL                                                  70  

        returns to Hans.


                  See to Heinrich...
                         (to Theo)
         can break the code key...?

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

        As he heads for the elevator.

                         (under his breath)
                  'Though you could have...

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

71      INSIDE THE SUPPLY CLOSET - MCCLANE                    71  

        slowly lets out a breath, praying softly:

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

                                                   CUT TO:

72      INT. LIMO - PARKING GARAGE                            72  

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

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

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

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

73      VAULT ROOM - 31ST FLOOR                               73  

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

                 How long?

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

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

        Theo grins, begins typing.

73-A    HIS SCREEN                                            73-A 

        LETTERS begin going by:  AAAAA; 11111; AAAAB; 11112.

74      32ND FLOOR                                            74   

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

                 Why the fuck didn't you stop him?
                 Because, you ignorant sonofabitch,
                 you'd be dead, too.  Think...think,

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

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

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

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

        The voice continues as the station doors open and we:

                                                    CUT TO:


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

77      32ND FLOOR - SAME                                     77  

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

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

78      INT. SERVICE ELEVATOR - ON HANS - SAME                78  

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

                        (calmly, to Eddie
                        on CB)
                 Call 911, give them the name and
                 badge number on your uniform and
                 cancel the alarm...then disable
                 the system.
                        (looks across at
                        Tony, presses talk
                        button again)
                 Eddie?  What floor did the alarm
                 go off?

78-A    MACHINE FLOOR                                         78-A  

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

79      UNFINISHED FLOOR - SAME                               79  

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

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

                 Son of a bitch...

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

80      ON MCCLANE                                            80  

        under a desk.  He takes in his options.

81      HIS P.O.V.                                            81  

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

82      TONY                                                  82  

        He moves steadily toward the area where we saw McClane.

                 The fire has been called off, my
                 friend.  No one is coming to help
                 you.  You might as well come out
                 and join the others.
                        (fingers the trigger
                        of his machine gun)
                 I promise not to hurt you.

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

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

83      TONY'S P.O.V.                                         83  

        A radial arm saw spins noisily.

84      TONY                                                  84  

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

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

        Tony doesn't.  McClane cocks his Beretta.  Tony watches him

                 You won't hurt me.

                 Yeah?  Why not?

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

                 Yeah.  My Captain keeps telling
                 me the same thing.

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

                 Let's go.

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

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

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

85      STAIRWELL LANDING                                     85  

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

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

        He rises, moves cautiously to the source.

85-A    NEW ANGLE                                             85-A  

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

                                                    CUT TO:

86      INT. 32ND FLOOR - NIGHT                               86  

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

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

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

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

86-A    A DESK                                                86-A

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

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

        TIGHT ON McClane's back as he pushes Tony's body on swivel
        chair into the elevator.  (NOTE:  WE CANNOT SEE TONY'S HEAD)
        CAMERA ADJUSTS as McClane pushes the buttons for the 31th and
        30th floors.

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

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

        Using the ruler he blocks open the inside doors, then opens the
        outside doors of the floor above (31st) with his fingers and
        pulls himself up onto the carpeted floor, then up onto the roof
        of the car.  Once on the roof of the car he reaches over the
        edge and removes the ruler, closing the inside doors and setting
        the car in motion again.

86-C    HOSTAGE FLOOR                                         86-C  

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

                 I wanted this to be professional,
                 efficient, adult, cooperative.  Not
                 a lot to ask.  Alas, your Mr. Takagi
                 did not see it that way...
                 So he won't be joining us for the
                 rest of his life.
                        (as that sinks in)
                 We are prepared to go any way you
                 make us.  When we have achieved our
                 aims you can walk out of here...
                 or be carried out.  Decide now, each
                 of you.  But remember that we have
                 planned everything to the last detail.
                 We are completely in change.

        A "DING" attracts his attention.  He turns.

87      NEW ANGLE                                             87  

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

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

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

87-B    HANS                                                  87-B  


                        (indicating the hostages)
                 Get them over there.  Schnell!

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

87-C    HOLLY                                                 87-C  

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

87-D    NEAR THE ELEVATOR                                     87-D  

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

87-E    INSERT - THE NOTE                                     87-E  

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

87-F    BACK TO SCENE                                         87-E  

                 Perhaps a security guard we

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

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

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

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

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

                                FRITZ'S VOICE
                        (slightly spooked)
                 We have to do something, Hans.

                                HANS' VOICE
                        (not pleased)
                 Yes...we have to tell Karl his brother
                 is dead.  Tell him to come down.

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

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


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

89      MCCLANE'S P.O.V.                                      89  

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

90      MCCLANE                                               90  

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

91      MCCLANE'S P.O.V.                                      91  

        Total darkness.

92      MCCLANE                                               92  

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


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

93      PUMP ROOM                                             93  

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

94      MCCLANE'S P.O.V.                                      94  

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


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

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

                        (pushing him away)
                 He was my only only
                        (a flat statement)
                 I want blood for my blood.  We

        He starts to move.  Hans stops him.

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

                 And if he alters it...?                              *

        For once Hands doesn't have an answer.

95-A    HOSTAGES - AROUND THE CORNER                          95-A  

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

                 What's happening?

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

                 The police...?

                        (shaking her head)

                 John?  Christ, he could fuck this
                 whole thing up...what does he think
                 he's doing?

                 How about his job?

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

                 Tell that to Mr. Takagi.

96      EXT. ROOF - NIGHT                                     96  

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

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

97      OUT                                             OUT   97

98      INT. HANS' OFFICE - SAME                              98  

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

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

        Karl looks almost...satisfied.

                 The roof.  It's the best place to

        They move.


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

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

                 -- the false alarm?  I'll handle                     *

        She plugs in her headset.  (Her condescending, arrogant tone is
        like the one in the famous tape where the dispatch lady spends
        so much time on red tape that the patient dies.)

                        (into mike)
                 Attention, whoever you are.  This
                 channel is reserved for emergency
                 calls only --

                                MCCLANE'S VOICE
                 No fucking shit, lady!  Do I sound
                 like I'm ordering a pizza?

100     OUT                                             OUT  100

101     INT. SERVICE ELEVATOR - ON KARL - SAME               101  

        with Franco and Fritz.

                 No one kills him but me.

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

102     EXT. UPPER ROOF                                      102  

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

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

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

                        (to the radio)
                 -- fine!  Report me!  Hey, come down
                 here and fucking arrest me!  Send
                 the police.  NOW -- !

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

                                                    CUT TO:

103     INT. DISPATCHER OFFICE - SAME                         103

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

104     OUT                                             OUT   104

105     EXT. ROOF - ON MCCLANE - SAME                         105  

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

106     INT. EMERGENCY DISPATCH - SAME                        106  

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

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

                                                    CUT TO:

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

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

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

                 Thought you guys just ate donuts.

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

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

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

        Powell grabs the radio, speaks into it.

                 One Adam Ten, go ahead.

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

                 Nakatomi Plaza?

        He moves to the door, steps outside.

107-A   EXT. CONVENIENCE STORE                                107-A  

        Powell looks towards the horizon and up.

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

                                DISPATCH VOICE
                 One Adam Ten, do you copy?

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

                        (into police
                 Roger, dispatch.  I'm on the way.

        And he BURNS RUBBER leaving the store:

                                                    CUT TO:

108     EXT. ROOF - ON MCCLANE - NIGHT                        108  

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

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

109     ELEVATOR SHAFT NEAR PUMP ROOM                         109  

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

        The catwalk ends, and the elevator is gone.

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

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

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

                 No, but he's in the elevator shaft.

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

                 Hans, he killed by brother --

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

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

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

        He's OVERHEARD enough of this to realize he's in deep shit.
        He backtracks to the air shaft door, strikes a cigarette

110-    OUT                                             OUT   110-
117                                                           117  

117-A   ELEVATOR SHAFT (OPPOSITE SIDE)                        117-A  

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

118     MCCLANE                                               118

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

118-A   HIS WEAPON                                            118-A  

        and its canvas gunsling and metal strap slides.

118-B   BACK TO SCENE                                         118-B  

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

119     AIR SHAFT                                             119  

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

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

        Suddenly he FEELS something GIVE above him and looks up.

120     CLOSE ON THE SLING                                    120  

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

121     KARL                                                  121  

        He moves silently toward the corner.

122     CLOSE - MCCLANE'S TOES                                122  

        now only inches from the bottom edge.  McClane's arms are
        fully extended now.  He hears Karl on the metal catwalk.  His
        muscles strain and quiver.

123     THE SLING                                             123  

        One of the canvas end slips through the clip.

124     ON MCCLANE                                            124  

        FALLING.  He grabs the ledge of the air duct as he falls and
        his body slams into the aluminum wall with an echoing BOOM.
        Above him on the catwalk the rifle rattles on the metal outside
        the door.

125     ON KARL                                               125  

        Around the corner Karl FREEZES, unsure of the sound:

126     ON MCCLANE                                            126  

        holding onto the ledge by his hands.  With every ounce of
        strength he tries to pull himself up into the horizontal duct,
        clawing for a hold.

127     ON KARL                                               127  

        He rounds the corner and sees McClane's rifle lying beneath
        the doorway.  He moves to the small door, shines his light and
        aims his rifle down into the air shaft ready to fire.

128     HIS P.O.V.                                            128  

        The shaft is deserted.  Moving his light around he sees the air
        duct.  Without hesitation he turns and backtracks to the pump
        room door.


        He lies exhausted and motionless in the narrow crawl space.  He
        awkwardly fishes out the lighter from his shirt pocket and
        thumbs it ON.

        The flickering GLOW shows him this ain't no place for
        claustrophobics -- it's a long, long long dark and narrow
        corridor full of weird shadows.  The far end (if there even
        if one?) is BLACK.

                 Whew...for a moment there I was

        He turns out his lighter, and starts crawling.

130-    OUT                                             OUT   130-  
133                                                           133-  

133-A   INT. MACHINE FLOOR                                    133-A  

        The three terrorists rush down from the roof in hot pursuit,
        Karl leading the way through the door.  Karl points quickly to
        the left and right where there are a series of rooms.  The
        others checks these while Karl approaches the CAMERA, trigger
        finger ITCHING.  Almost immediately, the others return.

                        (a whisper)

        Karl looks puzzled.  Then he thinks, mentally retracing McClane's
        few options.  Karl's eyes scan the architecture here, and then
        suddenly he looks UP.

133-B   OUT                                             OUT   133-B   *  

134     HIS P.O.V.                                            134     *   

        The ceiling is criss-crossed with air ducts.  He fires a      *  
        burst into the ducts.

135     INT. AIR DUCT - SAME                                  135

        McClane remains motionless in the air duct.  Three quarter-size
        holes inches from his face show how close Karl came to nailing
        him.  Sweat covers his face, drips silently onto the aluminum.

136     MACHINE ROOM                                          136

        Karl listens patiently for sound.  Just then the two other
        terrorists return.


        Karl hesitates a moment, fighting his instincts before finally
        turning to go.  Suddenly the duct McClane is in GROANS slightly
        under his weight.  Karl stops and looks up at the matrix of
        aluminum duct work, trying to single out the source of the
        sound.  He steps back into the room and raises his rifle.
        Holding it upright he presses the barrel up into the belly
        of McClane's air duct, feeling for weight -- the weight of a

137     INSIDE THE AIR DUCT                                   137

        McClane sees the indention of the barrel pressing into the
        aluminum fifteen feet away.  There is a pause and another
        three feet closer.  He can hear Karl's footsteps on the
        concrete -- moving slowly below the duct.

138     ON KARL                                               138  

        His eyes are fixed above him on the air duct.  He presses the
        barrel up again.  Still nothing.

139     ON MCCLANE                                            139  

        Silently he moves his hand, slowly draws his Beretta.  The
        next indention presses up six feet away.  McClane points his
        gun downward and waits.

140     KARL                                                  140  

        stops directly below him.  The barrel starts up and just
        touches the duct under McClane when Franco returns to the
        door and calls:

                 Karl!  Police!  Come on.

        Karl hesitates then lowers his gun and leaves.

141     CLOSE - MCCLANE                                       141

        He hears the door close and lowers his head.

141-A   INT. 33RD FLOOR - SAFE ROOM                           141-A

        The large LED WINDOW in the front of the safe BEEPS and letters
        creep by:  ACCESS CODE ACCEPTED.  We HEAR a CLUNK.

        CAMERA ADJUSTS to show Theo, who grins.  Now his computer
        screen reads, LOCK #1 DISABLED.  DO YOU WISH TO PROCEED?

        Theo puts goggles on his eyes, holds out his hands towards
        Kristoff like a doctor requesting a scalpel.  Kristoff gives
        him a GIANT DRILL.

                 You bet your ass I'm gonna proceed.

        He turns on the drill:

142     OUT                                             OUT   142


        The street is empty, quiet.  A lone police black-and-white
        pulls out of the shadows of a side street and begins a slow
        cruise toward the Nakatomi building.

144     ON POWELL                                             144

        Driving, alone.  He starts up at the tower.  It seems calm,
        its glowing lights matching the warmth of the holiday
        decorations on the streets.  Powell slows to a stop and
        scans the premises.  In the lobby we SEE Eddie, sitting behind
        the desk.  Powell reports to his radio.

                 Guard inside.  No signs of disturbance
                 ...I'm going up for a closer look.

        He pulls in and parks in the front.

145     INT. MACHINE ROOM - SAME                              145  

        McClane punches out a ceiling vent and drops down into the
        machine room.  For a moment he stands, listening for sounds
        of movement.  The floor is quiet.  He goes to the stairwell.

146     EXT. ROOF - SAME                                      146

        The edge of the roof.  Suddenly a tall terrorist, James,
        moves along the wall and looks over at Powell's car.

147     INT. 3RD FLOOR - SAME                                 147

        The elevator doors open on Karl, Franco and Fritz.  They      *
        step out onto the darkened floor.  We SEE large number "3"
        painted on the doors of this floor.

        They move quickly toward the windows on the Avenue of the Stars
        side where a terrorist, ALEXANDER, with a BAR rifle has set up
        a machine gun nest under a half-opened window.  Directly below
        him we SEE Powell's car.

        Alexander PANS the police car with his weapon, finger on the
        trigger.  This is clearly a man hungry for action.

148     30TH FLOOR (HANS' OFFICE) - SAME                      148  

        Hans watches from above.  He raises his CB.

                        (his usual calm)

149     INT. LOBBY - SAME                                     149

        Eddie picks up his CB.  He watches Powell coming up the stairs.

                        (to CB)
                 Had a feeling you'd be calling...

                                HANS' VOICE
                 Let him in.

        Eddie is a little startled, but he moves quickly.

149-A   ALEXANDER                                             149-A

        also hears this, and his eager expression fades.  But orders
        are orders.

150     EXT. FRONT DOOR OF NAKATOMI - SAME                    150  

        Powell tries the front doors.  Locked.  Eddie comes hustling
        across and unlocks the door with the magnetic card.

                 Evening, officer.  What's up?

        Powell steps in and looks around.  Bland HOLIDAY MUZAK filters
        from Speakers here.   (LET IT SNOW)                           *  
                 We got an emergency call that there
                 was a problem here.

151     INT. 34TH FLOOR - BOARD ROOM - SAME                   151     *

        McClane makes his way to the Avenue of the Stars side of
        the building, enters the board room where Takagi was shot.
        McClane goes to the windows and looks down at the street.

152     HIS P.O.V.                                            152

        Powell's car.

                 All right!

        McClane waits, expectant.  Five seconds.  Ten seconds.  But
        no commotion, no shouting.  He frowns.

                 Where's the fucking cavalry?

152-A   INT. LOBBY - SAME TIME                                152-A  

        Powell walks casually across the slick floor, eyes panning the
        area.  Eddie sits casually watching a game on one of his
        monitor screens.

                 We already had that false alarm, you
                 ask me, the Goddamn computers sent
                 you out on another wild goose chase.
                 They been chasing bugs in that system
                 since they installed it.
                        (to the screen)
                 Oh, shit, come on, I got fifty bucks
                 on you assholes -- !

        Powell's face shows us he's starting to think he's wasting his

152-B-  OUT                                             OUT   152-B
153                                                           153

153-A   WITH MCCLANE                                          153-A

        The silent tension is driving him crazy.

                 Come on, come on...who's in that
                 car, Stevie Wonder?

        He makes up his mind.  He lifts one of the big chairs and
        swings it at the window.  The tempered glass whitens on the
        first blow.

153-B   EXT. ROOF                                            153-B

        James sees the glass whiten below him and shouts into his mike.

153-C   INT. MACHINE FLOOR                                   153-C

        Heinrich hears the radio and shouts to Marco who grabs his
        machine gun and runs.

154     INT. LOBBY                                           154

        Eddie watches confidently as Powell moves through the lobby
        looking for signs of trouble.

154-A   AROUND THE CORNER FROM POWELL                        154-A

        Uli is there, gun held ready.                                 *

155     BOARD ROOM - 34th FLOOR                              155

        McClane draws the chair back for the final hit when a terrorist
        (MARCO) appears at the door.  Both men react, but Marco already
        has his gun up.  He FIRES a round at McClane.  The bullets rip
        into the table top and the chair, and McClane goes down behind
        the table.

156-    OUT                                             OUT  156-
156-A                                                        156-A

157     INT. 34th FLOOR - BOARD ROOM                         157

        Marco smiles and moves around to the other side of the table,
        but finds no one.  He looks around frantically than squats
        beneath the table and sees:

158     MCCLANE                                              158

        lying prone, his pistol trained on him.

                 Drop it or you're a rugstain.

159     BOARD ROOM DOORWAY                                   159

        Just then Heinrich, the terrorist steps into the doorway, sees
        the situation.

                 Marco, duck!

        Marco dives sideways, but Heinrich still isn't quick enough.
        McClane FIRES TWICE and Heinrich DROPS sprawling in the hallway,
        machine gun FIRING BLINDLY until he hits the floor.

159-A   HOSTAGE FLOOR                                         159-A

        They can FAINTLY HEAR the gunshots.  Holly pales:

159-B   THE LOBBY                                             159-B

        All Powell can hear here is "LET IT SNOW, LET IT SNOW."  He
        STOPS just a yard from seeing the armed terrorist, turns back.

                 Screw this.

        He turns back.

159-C   THE BOARD ROOM                                        159-C

        Marco springs on top of the huge table.  McClane rolls on his
        back so he can cover either angle but it is clear that Marco
        is in the more enviable position.

160     ON MARCO                                              160

        on the table top slams in a fresh magazine and smiles.

                 Next time -- don't hesitate.

        He leans his machine gun over the edge.

161     MCCLANE                                               161

        aims directly above him and fires twice into the underside
        of the table.  The bullets rip through the table and Marco,
        who DROPS beside McClane.

                 Thanks for the advice.

162     OUT                                             OUT   162

163     INT. LOBBY - SAME                                     163

        Powell heads for the door.  Eddie moves to lock up after him.

                 Sorry to water your time.  Merry
        Powell goes out.

164     INT. 34TH FLOOR BOARD ROOM - SAME                     164

        McClane rolls out from under the table, goes to the windows,
        and looks down in time to see Powell heading for the car.

                 Oh, man, please, no --

        Desperate, he leans on the glass...which CRACKS again, on the
        verge of going.  McClane thinks...looks over his shoulder at
        the body of Marco.

165     INT. POWELL'S POLICE CAR - SAME                       165

        Powell check in on his radio.  Unconsciously he begins to
        HUM the Muzak he overheard in the lobby.

                 One Adam Ten to 6421.  We had a
                 wild goose chase on that 436.
                 Everything's okay here.  Over.
                        (waiting, loosening
                        his tie, he murmurs)
                 'Oh, the weather outside is frightful,
                 but the...the uh, dum, de dum's

                                DISPATCHER'S VOICE
                 Roger, One Adam Ten.  We thought it
                 was a crank call anyway.  Clear to
                 code eight.

                        (putting the
                        car into gear)
                 '...let is snow, let it snow, let
                 it snow -- '

        Suddenly Marco's body CRASHES onto the hood of his car.

                 -- Jesus H. Christ!
                        (grabbing for
                        his radio)
                 6421, this is One Adam Ten --

        Suddenly a barrage of MACHINE GUN FIRE from Alexander on the
        third floor drowns out his call!  Powell ducks and flattens
        against the seat as bullets blow out the front window,
        covering him in glass.

                                DISPATCHER'S VOICE
                 Roger, One Adam Ten, please repeat.

        But Powell accelerates in reverse away from the building,
        keeping his head low and praying he doesn't hit anything
        as the bullets follow him, digging into asphalt.  A half block
        away his car runs off the pavement and down a SLOPE, finally
        BOUNCING to a jarring HALT in a parking lot which is destined
        to become police H.Q. a few pages from now.  Powell sits up
        and clutches the mike.

                 One Adam Ten, under automatic rifle
                 fire at Nakatomi!  Requesting immediate
                 backup and SWAT assistance...

166     INT. 34TH FLOOR - BOARD ROOM                          166     *

        McClane looks down at Powell and grins.

                 Welcome to the party, pal.

                                                    CUT TO:

166-A   INT. OFFICE - TV STATION - SAME TIME                  166-A

        WIDEN FROM A POLICE SCANNER.  We take in the action here,
        all color coordination and slickness.  RICHARD THORNBURG,     *
        local TV news reporter, is on the phone to his girlfriend.

                                THORNBURG                             *
                        (into phone)
                 -- of course I can get us a table,
                 Wolfgang and me, we're like that.
                 I interviewed him...hold on,                         *

        He covers the mouthpiece, because he's become aware of what's
        coming from the scanner.

                                POLICE SCANNER
                        (various voices)
                 -- attention all units.  Officer
                 pinned down by automatic weapon
                 fire at Nakatomi, Century City --
                 request assistant -- (ETC)

                                POWELL'S VOICE
                        (intermixed with
                        all this)
                 -- guys, you want to cut through
                 the red tape?  They practically
                 turned this car into Swiss cheese -- !

                 All right...!

        He drops the phone, pick up another.  Shouts --

                 Mary, this is Dick.  I want a remote
                 truck and a crew to meet me at the
                 South gate in fifteen minutes...
                 Damn right, fifteen...
                 Where are we going?
                        (Hearing gun shots)
                 For an Emmy!

        Now, hearing MACHINE GUN FIRE, Thornburg hangs up the second
        phone.  Runs out of the room.  CAMERA PANS BACK TO the first

                                WOMAN'S VOICE
                 Richard?  Richard?

167     EXT. CENTURY CITY - NIGHT                            167

        Sirens wail as the first few police cars arrive.  Powell sees
        them, waves them back, points to the third floor.

168     INT. HOSTAGE WING - ON ELLIS - SAME                  168

        He leans back and closes his eyes, luxuriating in the sound
        of WAILING POLICE SIRENS.  He looks at Holly.

                 I never through I'd love to hear
                 that sound.

169     HANS' OFFICE                                         169

        Hans, Karl, Fritz and Franco confer.

                        (in mid-speech)
                 -- all of you, stay at your posts!
                 We knew that police action was
                        (an odd smile)
                 ...In fact, it's necessary.  So let
                 them start their feeble efforts;
                 until them, stay calm.  We have
                 the hostages, remember.  We are
                 still in charge.

        Suddenly Hans' CB crackles to life.

                        (picking it up)
                 I told all of you...I want radio
                 silence until further --


169-A   MCCLANE - 34th FLOOR - BOARD ROOM                    169-A    *

        He's got a CB on the table and ON, and his cop's notebook is
        out again.  He's already upgraded the NUMBER OF TERRORISTS?
        to "12 (?) minus 3 = 9" and added other information.  As he
        speaks he takes ammo clips the dead men dropped, their
        sidearms, etc.

                 Gee, I'm sorry, Hans, nobody gave
                 me the message.  You shoulda put
                 it on the bulletin board.  Anyway,
                 I thought you and Franco and Karl
                 and the other boys might be lonely,
                 now that I waxed Tony and Marco and
                 their buddy.  So I invited some of
                 the guys from my card game.

        In the office, the terrorists REACT, startled, as McClane

                                FRANCO                                *
        does he know so much
                 about --

                        (waving for silence)
                 Ah, how nice of you to call.  I
                 assume you are our mysterious party
                 crasher.  You are most troublesome
                 for guard?

170     INT. 34th FLOOR - ON MCCLANE - INTERCUT              170      *

        Moving down the corridor.  Now armed with Marco's machine
        gun and carrying Heinrich's kit bag, he seems more lethal.    *

                        (into CB)
                 BZZZ!  Sorry, Hans, wrong guess.
                 Would you like to go for
                 Double Jeopardy, where the stakes
                 are double and the scores really

        He rolls Heinrich over and is delighted to find a pack of
        Gauloise's in the man's pocket.  He takes them, pats the      *
        dead man's face.

                        (sotto, to the body)
                 Bad for your health anyway.

                 Who are you, then?

                 Just the fly in the ointment, Hans.
                 The monkey in the wrench, the pain
                 in the ass -

        McClane STOPS in mid-speech.  He's just opened the kit bag
        Heinrich had over his shoulder when he died.  Now McClane
        takes out the contents...dozens and dozens of EXPLOSIVE
        DETONATORS marked "DANGER" and a CHUNK of cello-wrapped
        PLASTIQUE the size of an electric razor.  He WHISTLES in
        surprise to himself.

        In the office, Hans turns off his mike for a moment, turns
        to Karl.                                                      *

                 Check on all the others...don't
                 use the radio.  See if he's lying
                 about Marco  and find out if anyone                  *
                 else is missing.                                     *

        He moves.   Hans goes back onto the CB.  Meanwhile, McClane   *
        SMILES at the tell-tale STATIC as Hans goes off and on.  He
        knows what's happening.  Now, he starts to walk down
        a corridor, eyes PANNING FROM elevator to the stairwell

                 Mr. Mystery Guest.  Are you still

                 I wouldn't think of leaving, Hans.
                 Unless you want to open the front

                 I'm afraid not.  But you have me
                 at a loss -- you know my name, but
                 who are you?
                 Just another American who saw too
                 many movies as a child.  Another
                 orphan of a bankrupt culture who
                 thinks he's John Wayne...Rambo...
                 Marshal Dillion.

                 Actually, I was always partial to
                 Roy Rogers.  I really dug those
                 sequined shirts.

                 Do you really think you have a chance
                 against us, Mr. Cowboy?

        A LIGHT blinks on the elevator.

                        (long pause)

        McClane goes quietly through the stairwell door and is gone
        by the time the search party steps onto this floor.

        Hans sits quietly...thinking.

170-A   OUT                                             OUT   170-A

                                                    CUT TO:

171     INT. 30TH FLOOR - SAME                                171

        Karl steps off the elevator and goes through the crowd of
        hostages to Hans.

                 He wasn't lying about Marco:  He's
                 thirty stories down on the street.
                 The other man is Heinrich, and I found
                 his body upstairs.
                        (pause; Hans looks
                 And his bag is missing.

                 He had the detonators!
                        (into CB)
                 Theo?  Theo!


171-A   THEO - IN SAFE ROOM                                   171-A

        With Kristoff, he has DRILLED TWO HOLES in the safe and is
        working on a third when he HEARS the CB.  He turns off the
        drill, answers.


                 We may have some problems.  How is
                 your schedule?

        Theo moves to his computer screen which shows a schematic of
        the safe and blinking icons and the words MECHANICALS #2
        and #2 DISABLED.

                 Three down, four to go --

                 Then don't waste time talking to

        Suddenly all REACT to a nearby CB transmitter which broadcasts.

                                POWELL'S VOICE
                 This is Sergeant Al Powell of the
                 Los Angeles Police Department.  If
                 the person who radioed for help on
                 this channel can hear me, acknowledge
                 this transmission...I say again...

172     INT. 33RD FLOOR - ON MCCLANE - NIGHT                  172     *

                        (to CB)
                 I read you, Powell.  You the guy
                 in the car?


173     EXT. POLICE OPERATIONS TRAILER                        173

        Powell stands in front of his destroyed cruiser and looks
        up at the building.  Behind him technicians, City Power and
        Light personnel, SWAT officers in protective gear, etc., arrive
        from all directions.  A trailer is being backed into a parking
        lot, which will become the police center of operations.  It
        is like watching a small town being constructed right before
        your eyes.

                        (to CB)
                 What's left of him.  Can you
                 identify yourself?


173-A   HANS AND KARL                                         173-A

        Listening intently.

                 Maybe later.  Just listen fast
                 because this is a party line and
                 the neighbors are trigger happy.
                 Now here's the skinny:  There's
                 thirty or so hostages on the
                 30th floor, with probably 2 or 3
                 guards to cover a group that size.
                 The leader here is named Hans,
                 and besides the pea shooter he
                 ventilated your car with,                            *
                 they got machine guns and                            *
                 sidearms up the yin yang.  On top
                 of that one of 'em had a big enough
                 chunck of plastic explosive to
                 orbit Kate Smith.                                    *

        NOTE:  The following dialogue is said OVER McClane's.

                 We have to find him and shut him
                 up!  He's telling them everything --

                        (shaking his head,
                 The police are irrelevant.  We've                    *
                 waiting for the FBI.  Until they                     *
                 arrive, we can't finish out work.
                 Meanwhile, let this fool waste time
                 for the police.  Fritz, go help Uli                  *
                 find the bag.

        The CAMERA TIGHTENS ON him

                 We must find those detonators.

        They leave.

173-B   WITH MCCLANE                                          173-B

                                POWELL'S VOICE
                 How many are there?

                        (thinking about it)
                 Figuring there's at least one to
                 cover the lobby, a couple with the
                 hostages...I'd say they came in
                 with about a dozen...but they're
                 down to nine now, including the
                 skydiver you already met.  These
                 guys are mostly Europeans, judging
                 by their clothing labels, and they're
                 well financed and very slick.

                 How do you know?

                 I've seen enough phoney ID's in
                 my time to recognize that the ones
                 they've got cost a fortune.  Add all
                 that up and I don't know what the
                 fuck it means, but these are bad
                 ass preps and they're here to stay.

        We notice that everything McClane has said about "clothing"
        and ID's and police jargon, etc., has set off a little buzzer
        in Powell's brain.

                 I hear you...
                        (on a hunch)
                 Partner.  And LA's finest are on it,
                 so light 'em if you got 'em.

                 I'm ahead of you...partner.

                 Uh, what do I call you?

        A moment.  McClane smiles.  What the hell?


                 Got it...'Roy'.  Now listen.  If
                 you think of anything else you think
                 we need to know, don't be shy, okay?
                 In the meantime I want you to find
                 a safe place and hole-up and let
                 us do our job.  Understand?

                        (to CB)
                 They're all yours, Al.  Good luck.

        McClane turns off his CB and sits against the wall.

174-    OUT                                             OUT   174-
176                                                           176

177     EXT. POLICE OPERATIONS - NIGHT                        177

        An unmarked police car pulls up across the street from
        Nakatomi building and a MAN in a sportcoat climbs out.
        Stocky, his hair a little too perfect, the very fact that
        he is the Deputy Chief of Police Operations on a Christmas Eve
        gives some evidence to his position in the pecking order.  His
        name is DWAYNE T. ROBINSON and he moves brusquely past police
        technicians and goes to the forward group of officers.

                 Who's talking to them?

        Powell turns around

                 I am, Sir...Sergeant Al Powell.

                 Dwayne Robinson.  Well, what have
                 you learned?  What do they want?

                 The terrorists?  Don't know, Sir.
                 We haven't heard a peep from them.

                 Then who the hell have you been
                 talking too?

                 We don't exactly know, Sir.  He won't
                 give us him name.  He appears to be the
                 man who called in the report...he's
                 killed one of the terrorists for sure
                 and claims he capped two others.

                 He claims?  Powell, has it occured
                 to you he could be one of the
                 terrorists, pulling your chain?
                 Or some kind of nut case who --

                 I don't think so, Sir.  In fact...
                 I think he's a cop.  Maybe not
                 LAPD, but definitely a badge.

                 How do you know?

                 A hunch.  Things he said.  Like,
                 knowing how to recognize a phony
                 ID --

                 -- recognizing phony ID's?  Christ,
                 Powell, he could be a fucking
                 bartender for all we know!

        Something draws Robinson's attention.  He looks at:

178     HIS P.O.V. - REMOTE NEWS TRUCK                        178

        Pulling up and parking just beyond the barricades.
        Richard Thornburg gets out, starts supervising the            *
        positioning of cameras.

178-A   BACK TO SCENE                                         178-A

                 Oh shit...

179     HOSTAGE FLOOR                                         179

        Hans examines building plans at Holly's desk.  Behind him
        the TV is ON, the sound muted.  TV cops triumph over oafish
        bad guys.

        Hans looks up as Fritz brings in Holly.

                 I...have a request.

                 Oh?  What idiot put you in charge?

                 You did.
                        (on his look)
                 You murdered by Boss.  Now...
                        (waving towards
                        the hostages)
                 They're looking to me.  Personally
                 I'd pass on the jab.  I don't enjoy
                 being this close to you.

        Hans is impressed by her candor.  And she's easy enough
        on the eyes.

                 Go on.

                 We have a pregnant woman out there --
                        (on his look)
                 -- relax, she's not due for two
                 weeks, but a marble floor isn't
                 doing her back any good.  I'd like
                 permission for her to more to one
                 of the offices where there's a sofa.

                 No.  But I'll have a sofa brought
                 out to you.  Good enough?

                 Good enough.  And unless you like
                 is messy, you'd better start taking
                 us in groups to the bathroom.

                 Yes, you're right.  It will be done.

        He nods to one of his men, and she is waved to the door:

        As she goes:

                 Mr. Takagi chose his people well,

                 Gennero.  Miss Gennero.

        He nods, thoughtful.  She goes out.  Hans suddenly notices:

180     CLOSER - TV                                          180

        A slide "SPECIAL BULLETIN" has appeared.  This changes to a
        SHOT of the Nakatomi building with "LIVE" supered over it.
        Richard Thornburg is in front. The CAMERA TIGHTENS ON him.

                 This is Richard Thornburg, speaking
                 to you live from Century City...
                 where Los Angeles has joined the
                 sad but world wide fraternity whose
                 only membership requirement is the
                 awesome spectre of International

181     ANOTHER TV SCREEN - NIGHT                            181

        As Thornburg Continues, we PULL BACK.  We're WITH Argyle in
        the back seat of the limo.

                        (reaching for the
                 What else is new...?

        The CAMERA PULLS BACK and we SEE the Nakatomi Building rise
        up in the b.g. behind Thornburg.

                 Holy shit...

                 We're told that the situation began
                 some two hours ago when an
                 unidentified party of men took over
                 the building and sealed off all of
                 its entrances and exits...

        Argyle is already bailing out of the car.

182     EXT. LIMO - IN THE GARAGE                            182

        Argyle looks at the metal gates, swallows.  He JUMPS back
        in the car.

183     BACK INSIDE                                          183

        Argyle pours himself a stiff drink.

                        (on TV)
                 Since all the telephone lines have
                 been cut, the only contact with the
                 building had been through the use of
                 CB communicators which the terrorists
                 brought with them.  Strangely enough,
                 so far the terrorists have not
                 communicated directly with the police...
                 but an unidentified man has had
                 several conversations which seem to

        Argyle nearly spills his drink as he leans over the front
        seat and turns on the CB.

                                                    CUT TO:

184     OUTSIDE THE BUILDING - SAME TIME                     184

        Signs of activity along the edges and shadows of the area.
        Men and vehicles.  The SNAP of weapons and breeches.
        Footsteps running in unison.  Powell picks up on this, turns
        to Robinson, who is standing with the SWAT Captain, MITCHELL.

                 What's going on?

                 What's it look like?  We're going

                 Going in...are you out of your mind?
                 There's 30 hostages in there -- for
                 all we know --

                 -- all we know?  We don't know shit,
                 Powell.  If there's hostages why
                 hasn't anyone asked for ransom?  If
                 there's terrorists, where's their
                 goddamn list of demands?  All we know
                 is that someone shot up your car, and
                 it could be the same flake you've been
                 talking to on the radio!

                 What about the body that fell out of
                 the window -- ?

                 Who the hell knows?  Maybe he was a
                 stockbroker who looked at the Dow Jones
                 and opted for early retirement!

                 Chief, we're ready.

                 I'm coming.

                        (into radio)

                        (over radio)

                 Begin your reconnoiter.

185     MCCLANE                                               185

        Inside the building, sadly realizing that the Marlboro pack
        has only two more to go.  He savors the dregs of his current
        number, then suddenly becomes aware of an almost EERIE QUIET.
        He moves to the window.

186     HIS P.O.V. - OUTSIDE                                  186

        Hints of activity in the darkness.  A LIGHT FLARES extinguished.
        Shadows move on trailer walls.

187     BACK TO SCENE                                         187

                        (spooked, into CB)
                 Powell?  Al, you still with me?
                 What's going on?  Al?


188     OUTSIDE                                               188

        Powell stiffens.  Robinson looks at him warningly, shakes his

                 I'm here, Roy, but I'm, uh, kind of
                 busy.  Let's talk later, okay?

                 Al, what's wrong?  Did something --
                 -- Oh, God.  You're coming in!  That's
                 it, isn't it?  Christ, Powell, I told
                 you what you're dealing with here --

                 I said we'll talk later, Roy.  If
                 you're what I think you are you should
                 know when to listen, when to shut up...
                 and when to pray.

        Hating himself, Powell DISCONNECTS, watches LIGHTS snaps on in
        the parking lot to illuminate the area.

        Also hating himself, McClane does the same thing.  Pale, he
        moves to a window to watch what he knows is going to be brutal.

188-A   IN HOLLY'S OFFICE - HANS                              188-A

        He hunches over his communicator.

                 They'll be coming.  Get ready.
                 Theo, watch the screens.  Be our
                 eyes and ears.
                 Wait until they're close.

188-B   EDDIE                                                 188-B

        slips away from the desk, a computer card in his hand.  He
        meets up with another terrorist and they move behind a slit
        in the wall.  Eddie waves his card at the sensor and a METAL
        GRID crashes into place.  They hold their weapons behind it,


        All now with earplugs in their CB's, taking up positions:

189     AT THE LOBBY DOOR                                     189

        The SWAT team leader moves in SOP style to the door, scans it


        Mitchell listens to CB radio.

                        (over radio)
                 We're in position.

        Mitchell looks at Robinson, who is visible tense.  Robinson
        hesitates, then gives his approval with a nod.

                        (to CB)

190     QUICK SHOTS - INSIDE THE LOBBY                        190

        The SECURITY CAMERAS on the walls PAN and ZOOM:

191     THE VAULT DOOR                                        191

        Kristoff DRILLS AWAY, is rewarded with the message FIFTH LOCK
        DEACTIVATED.  DO YOU WISH TO CONTINUE?  Nearby, Theo sits at
        a bank of monitors.  Screen after screen pinpoints all the
        police activity outside, down to the last detail.  Theo SMILES.
        Suddenly we RECOGNIZE that tune he's been whistling.  It's
        "Singin' In The Rain."

                        (into a throat mike)
                 It was the night before Xmas, and
                 all through the house, not a creature
                 was stirring, expect for the four
                 assholes coming in the rear in
                 standard 2 X 2 cover formation.

192     INT. LOBBY - NIGHT                                    192

        Eddie and another terrorist, ULI, take up prone firing
        positions, using the gaps in the steel partition like gunpoints.

193     ANGLE ON TWO SWAT OFFICERS                            193

        Mitchell and Robinson watch from behind the cover of a police
        car as the SWAT officers remove a portable welding torch and
        begin cutting their way through the locks.

194     INT. 33RD FLOOR - MCCLANE                             194

        He moves painfully to the window and looks out.  He can't see
        a thing because of the lights.

                        (to himself)


        Suddenly rifle fire sounds from the building.

                 They're shooting at them

                 It's panic fire...they can't see

                        (under breath)
                 They're shooting at the lights.

        More shots ring out from the building going over the SWAT
        officers' heads and suddenly the huge dome of one of the
        spotlights shatters behind Mitchell and Robinson's head.
        The glow fades.  A moment later the next light twenty feet
        away dies.

                 They're going after the lights!

        The two SWAT officers cutting the garage ate suddenly look up
        as their cover starts to disappear.

                 Call them back.

                 No, they're almost in.

        Suddenly the third and fourth lights are shot out and the SWAT
        men become sitting ducks.

196     IN HOLLY'S OFFICE - HANS                              196

        He calmly speak into his CB.

                 Don't get impatient.  Just wound them.

197     INT. LOBBY                                            197

        Eddie and Uli fire.  They hit one of the officers in the leg,
        the second one in the arm.


                        (on radio)
                 Send in the car!

        An armored car wheels toward the building and starts toward
        the wounded men.


        JAMES and Alexander quickly load two crates onto the service
        elevator and push the button for the 3rd floor.  As the car
        starts down, they remove an anti-tank gun from one of the

200     WITH THEO - WATCHING SCREENS                          200

                 Well, what have we here.  The
                 police've got themselves an R.V.
                 James, Alexander, southeast corner.

201     INT. 3RD FLOOR - SAME                                 201

        The service elevator arrives on the 3rd floor and James and
        Alexander move across the room toward the windows with the
        anti-tank weapon.  At the window, they prepare the weapon
        for use.

        Outside the window the armored car has stopped in front of the
        wounded man and paramedics quickly load them in from the
        sheltered side of the vehicle.  Alexander quickly sights on
        the armored car.

                        (to Hans, CB)
                 I have them

                                HANS' VOICE
                        (o.s., over CB)

202     EXT. THE ARMORED CAR                                  202

        A blast ROARS from the third floor window and the shell hits
        the armored car.  The car pitches forward like a beast whose
        front legs have been shot out from under it -- its front axle
        destroyed, unable to move.  Alexander looks back at James and

203     30TH FLOOR - HANS                                     203

        He watches from his window.  Coldly picks up his CB.

                 Hit it again.

204     MCCLANE                                               204

        listening.  He picks up his CB.

                 Hans, you motherfucker, you've made
                 your point.  Let them pull back!

                                HANS' VOICE
                 Thank you Mr. Cowboy, I'll take it
                 under advisement.  His it again.

        McClane slumps to the floor below the window.  He feels
        helpless, then notices his kit bag.

205     3RD FLOOR                                             205

        James runs back to the crate on the elevator.


        They look on in horror as the armored car sits helplessly on
        fire.  On the police radio channel we HEAR the screams of men

                        (to radio)
                 Rivers!  Rodriguiz!...Report...

                        (voice over; on
                        radio, yelling)
                 This is Rivers.  We've got one dead.
                 Everybody's hit.  Rodriguiz's bleeding
                 bad.  We've got to get the fuck out of

                        (to radio)
                 Rivers, hang on!  That's an order!
                 Hang on, we'll get you out.

207     INT. ELEVATOR CAR - 3RD FLOOR - SAME                  207

        James opens the box of shells and takes two and starts back
        across the room.

208     INT. 33RD FLOOR - CLOSE ON A SHAPE ON PLASTIC         208

        Like a football.  It sits on the seat of a secretary's chair
        with castors.  We PULL BACK TO SEE McClane press three
        detonators into the top, then cover the explosive with a
        typewriter, tying it securely in place with electrical cords.

209     ANGLE ON SERVICE ELEVATOR - MCCLANE                   209

        wheels the chair to the service elevator, opens the door and
        block them with a fire axe.  He looks in -- the top of the car
        can just be seen thirty-five floors below.

210     INT. 3RD FLOOR                                        210

        James hands the shell to Alexander, who expertly loads it into
        the anti-tank gun. Alexaneder lifts the  gun to his shoulder
        and aims.

211     INT. 38TH FLOOR                                       211

        McClane push the chair into the shaft.


        For a long moment there is nothing, then:  the shaft is filled
        with light, then SOUND -- an ungodly ROAR -- and McClane is
        thrown back across the elevator corridor against the other
        back of doors by the concussion wave.

212     ON THE 3RD FLOOR                                      212

        The explosion, like a firestorm, rips across the floor:


214     SHATTERING WINDOWS                                    214


216     EXT. AVENUE OF THE STARS                              216

        The police take cover behind their cars.  Powell, Robinson,
        and Mitchell look like they've seen the face of God as the
        building rocks from the blast.  Henry's cigarette falls from
        his mouth as a desk is sent hurtling across Avenue of the Stars
        into the trees across the street.


        watching it on TV, feeling it all around him.

                 Oh, Jesus...

218     EXT. DOWN ON THE STREET - SAME                        218

        Dick Thornburg's crew is taping.

                        (in awe)
                        (to the cameraman)
                 Did you get all that?


        Thornburg looks at his competitors still setting up.

                 Eat your heart out, Channel Four.

219-    OUT                                             OUT   219-
221                                                           221

222     ON HOSTAGE FLOOR                                      222

        The hostages are shaken and the terrorists guarding them
        aren't too sure of themselves either.  Only Hans is relatively

                 They're using artillery on us -- !

                 You idiot, it's not the police...
                 ...It's him.

223     ANGLE ON HOLLY                                        223

        She comforts Ginny.

224     INT. 32ND FLOOR - MCCLANE - SAME                      224

        He sits up and lifts the CB.

                 Al!  Al, the guys in the car, did
                 they make it?


225     EXT. POWELL                                          225

        on the street, watching as the survivors are pulled out of the
        wreck and to safety.

                        (on CB)
                 Safe and sound, thanks to you.
                 What the fuck was that?

                 The plastique I found.
                 Is the building on fire?

                 No, but it's gonna need one hell
                 of a paint job and a shitload of
                 screen doors.
                        (looking off,
                 One spotters say you got two with
                 that blast.

                 Two?  Are you sure?

        Before Powell can answer Robinson comes running up to him.

                 Is that him?


                        (reaching for Powell's
                 Give me that.
                        (angrily at McClane)
                 Now, listen to me, mister, I don't
                 know what you think you're doing,
                 but demolishing a building doesn't
                 fall under the definition of 'help'!
                 There's hundreds of people out here
                 and you covered half of them in
                 pieces of glass --

                 Glass, my ass!  Who the fuck is this?

                 This is Deputy Chief of Police
                 Dwayne T. Robinson, and I'm in
                 charge of this situation.

        McClane leans tiredly against the elevator door.

                 Well, from up here, it looks like
                 you're in charge of shit, Dwayne.
                 I haven't seen such a fucked up
                 operation since the
                 Bride of Frankenstein.  Ask
                 the guys in the armored car if
                 they minded a little flying glass.

                 Listen asshole -- !

                 Asshole?  I'm not the one who just
                 for butt fucked on national TV,
                 Dwayne!  Now if you're not part
                 of the solution, stop being part
                 of the problem!  Get off the
                 Goddamn radio and put Al back on!

        McClane is so furious, he's out of breath.

226     INT. LIMO - ARGYLE - SAME                            226

        Argyle nods in agreement.

                 Tell 'em, Mr. Mac!  Tell 'em!

227     INT. 33RD FLOOR - ON MCCLANE                         227

        still seething.  There is a long pause on the CB, then:

                                POWELL'S VOICE
                 Hello, Roy.  How're you feeling?

                 Pretty fucking unappreciated.


228     ON POWELL                                            228

        Other officers, including Robinson, monitor the conversation.

                 Hey, I love you.
                        (looking around)
                 So do a lot of the guys.  So hang
                 in there, man.  Hang in there.

                        (tired, touched)

229     TV - CLOSE                                           229

        As it SNAPS ON.  We're in the studio set.

                        (as the picture
                 ...of the Nakatomi building,
                 sources say that the terrorist
                 leader 'Hans' may be this man,
                 Hans Gruber.

        A SLIDE of Hans appears behind her.  At the same time, the CAMERA
        PULLS BACK.  We realize we're on THE HOSTAGE FLOOR, and Hans
        has just turned on the set out here for his "guests".  He smiles
        modestly as they "recognize" him from the on air shot, returns
        to the office.

                        (on TV)
                 A member of the radical
                 West German Volksfrei movement.
                 Strangely, the Volksfrei leadership
                 issued a communique an hour ago
                 stating that Gruber has been expelled
                 from the organization and is operating
                 on his own.

                        (on TV)
                 Obviously, Gail whatever his
                 affiliation, it's safe to say
                 that Gruber's terrorist actions
                 in Los Angeles tonight are well,

        As the bullshit continues, Ellis suddenly STANDS, head towards
        the terrorist "office".  Immediately the chief guard here,
        Fritz, moves to intercept Ellis.

                 Where are you going?

                 I'm tired of sitting here waiting
                 to see who gets us killed first...
                 them...or your husband.
                        (to the approaching
                 Hi there.

                 What are you going to do?

                 Hey, I negotiate million dollar
                 deals for breakfast.  I can handle
                 these clowns.
                        (to Fritz)
                 I want to talk to Hans.  Hans!
                 Sprickenzie talk?

        He doesn't wait for an answer.  Fritz follows him.  Holly

230     THE OFFICE                                           230

                        (in mid-speech,
                 -- you wouldn't let me kill him
                 when I had the chance --

                 If you'd listened to me he would
                 be neutralized already!

                 I don't want neutral...I want dead --

        ALL TURN at a rap on the door.  Ellis is there.

                 Hope I'm not interrupting...?

                        (to Fritz)
                 What does he want?

        As Fritz shrugs:

                 It's not what I want, it's what
                 I can give you.  Look, let's be
                 straight, okay?  It's obvious
                 you're not some dumb thug up
                 here to snatch a few purses, am
                 I right?

        Karl looks at Ellis and then at Hans, as if to say, let me plug
        this asshole right now.  But Hans is either amused of curious
        or bored enough to shake his head, turn back to Ellis.

                 You're very perceptive.

                 Hey, I read the papers, I watch
                 60 minutes, I say to myself, these
                 guys are professionals, they're
                 motivated, they're happening.
                 They want something.  Now, personally,
                 I don't care about your politics.
                 Maybe you're pissed at the
                 Camel Jockeys, maybe it's the
                 Hebes, Northern Ireland, that's
                 none of my business.  I figure,
                 You're here to negotiate, am I right?

                 You're amazing.  You figured this
                 all out already?

                 Hey, business is business.  You use
                 a gun, I use a fountain pen, what's
                 the difference?  To put it in my
                 terms, you're here on a hostile
                 takeover and you grab us for some
                 greenmail but you didn't expect a
                 poison pill was gonna be running
                 around the building.
                 Hans, baby...I'm your white knight.

                 I must have missed 60 Minutes.  What
                 are you saying?

                 The guy upstairs who's fucking things
                 up?  I can give him to you.

        As Hans reacts with real interest for the first time, we:

                                                    CUT TO:

231     POWELL                                               231

        By the CB.  He suddenly REACTS to a GROAN from McClane.

                 Roy!  You all right?

232     INSIDE - MCCLANE                                     232

        He's by an open desk drawer, having just ripped open a package
        of twinkies he's found.  He grimaces, mouth full.

                 Yeah, just trying to handle some
                 year old twinkies.  Yucck.  What
                 do they put in these things?

                 'Sugar, enriched flour, partially
                 hydrogenated vegetable oil,
                 polysorbate 60 and yellow dye #5.'

                 You sound like a man with a
                 couple of kids.

                 Not yet, the wife in working on our
                 first.  You got any kids back on
                 the ranch?

        McClane swallows Twinkie with a grimace, takes out his wallet,
        flips it open to a picture of himself and Holly and the kids
        in happier days.

                 Two.  And I'd sure like to see them
                 swinging on the jungle gym with
                 Al junior.

                 It's a date.  You buy the ice cream.

        McClane laughs, stares at the photo, when suddenly another VOICE
        besides Powell's comes over his radio.

                                HANS' VOICE
                        (o.s., on CB)
                 Touching, cowboy, touching.
                 Or should I call you Mister McClane?
                 Mister officer John McClane on the

        McClane FREEZES.  How much do they know?

233     THORNBURG - IN TRAILER                               233

        Reacts, gleeful, writes down the name.

                        (to Mary)
                 Get on the phone to our New York
                 affiliate...move, move!

234     POWELL                                               234

        reacts, signals an Aide, who's already writing, too.


235     MCCLANE AND HANS                                     235

                        (fighting to stay calm)
                 Sister Teresa in third grade called
                 me Mr. McClane.  My friends call me
                 John Mac.  You're neither...shithead.

                                HANS' VOICE
                 I have someone who wants to talk
                 to you.  A very special friend who
                 was at the party with you tonight.

        McClane's face falls.  Oh, God.  Eyes closed, he waits for the
        voice that tells him it's all over.

                                ELLIS' VOICE
                 Hello, John boy?

        McClane's eyes open, showing equal parts of shock and hope.
        In the office, CAMERA ADJUSTS TO SHOW Ellis as Hans gives him
        the CB.


        Ellis has a cigarette, and a terrorist brings him a Diet coke.

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

                 Ellis, what have you told them?

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

        McClane sighs, partially relieved.  Hans meanwhile, narrows his

        shouldn't be doing

                 Tell me about it.

        He looks at Hans, who gives him a nod.

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

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


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

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

                        (to CB, quietly)
                 Yeah, I hear you, you fucking moron!

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

                 Don't you think I know that!  Put
                 Hans on!  Hans, listen to me, that
                 shithead doesn't know what kind of
                 scum you are, but I do --

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

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

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

                 That asshole's not my friend!
                 I barely know him!  I hate his
                 fucking guts --
                        (desperately sincere)
                 -- Ellis, for Christ's sake, tell
                 him you don't mean shit to me --

                 John, how can you say that, after
                 all these years--?  John?  John?

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

                                                    CUT TO:

237     INT. 33RD FLOOR - MCCLANE                            237

        He was expecting the SHOT but it still chills him.

238     30TH FLOOR - HOLLY AND HOSTAGES                      238

        She lowers her head sadly.  Around her, the others go CRAZY as
        they SEE Ellis' blood splattered on the glass walls on Hans'

239     INT. HANS' OFFICE - ON HANS                         239

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

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

                        (after a beat)
                 Go fuck yourself.


240     EXT. BUILDING                                       240

        Powell fends off Robinson, who wants the CB.

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

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

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

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

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

        They lock eyes.

                 No Sir.  You couldn't drag me away.

                                HANS' VOICE
                        (over CB)
                 Attention police.  Attention police.

        It's asses and elbows time.  Tape recorders are started.

                        (starting to speak)
                 This is --

                        (taking the CB away)
                 This is Deputy Chief Robinson.  Who
                 is this?


241     HANS' OFFICE                                         241

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

                 What do you wish for, Mister Gruber?

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


242     MCCLANE                                              242

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

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

243     HANS' OFFICE                                         243

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

                 'Asian Dawn Movement?'

                        (off-mike, a shrug)
                 I read about them in Time magazine.
                        (on mike)
                 When these Revolutionary Brothers and
                 Sisters are Free, the hostages in this
                 building will be taken to the roof and
                 they will accompany us in helicopters
                 to the Los Angeles International Airport
                 where you will be given further
                 instructions.  You have two hours to

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

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

                 Who cares?
                        (on another
                 Theo.  Are we on schedule?


244     VAULT ROOM                                           244

        Theo and Kristoff have been rewarded with another LOCK

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

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

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

                                HANS                                  *
                 It's Christmas, Theo, it's the time
                 of miracles.  So be of good cheer
                 and call me when you hit the last
                 Karl...hunt the little shit down
                 and get those detonators.
                 Franco is checking the explosives,
                 Fritz is with him.

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

245     MCCLANE - 32ND FLOOR                                 245

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

                 Al?  Al, you there?

                 I'm here, cowboy.

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

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

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

                 In my youth, partner.  In my youth.

246     INT. TV STUDIO - NIGHT                               246

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

                        (in mid-speech)
                        (holding up a copy)
                 'Hostage/Terrorist, Terrorist/Hostage,
                 a Study in Duality.'  Dr. Hasseldorf,
                 what can we expect in the next few hours?

                 Well, Gail, by this time the hostages
                 and their captors should be entering
                 the early stages of the Helsinki

                 As in Helsinki, Sweden?

247     CONTROL ROOM                                          247

        Sam sighs, shakes his head.

                        (over monitor)
                 Uh...Finland.  Basically, it's when
                 the hostages and the terrorists go
                 through a sort of psychological
                 transference and projection of dependency...

248     INT. NAKATOMI - HOSTAGE FLOOR                         248

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

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

249     INT. BUILDING - MACHINE FLOOR                         249

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

250-    OUT                                             OUT   250-
253                                                           253

                                                    CUT TO:

254     OUTSIDE THE BUILDING                                  254

        Robinson looks at a YOUNG COP, reacts, startled:

                 The...the FBI?  Here?  Now?

                                YOUNG COP
                 Yessir.  Right over there.

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

                 You want a breath mint?

        Robinson glares at him, then they move together towards:

255     A BIG DARK GOVERNMENT CAR                             255

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

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

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

                                BIG JOHNSON
                        (showing badge)
                 I'm Special Agent Johnson of the FBI.
                 This is Agent relation.

                        (stepping forward, plastic
                 Dwayne Robinson, LAPD.  I'm in charge

                                BIG JOHNSON
                 Not any more.

        As Robinson REACTS, we GO TO:

257     THE MECHANICAL FLOOR - TIGHT ON HANS                   257

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

258     LOW ANGLE                                              258

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


259     NEW ANGLE                                              259

        A moment.  And then Hans turns, looks up.

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

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

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

        Hans' eyes dart towards:

260     THE BUTTRESS TEN FEET AWAY                             260

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

261     BACK TO SCENE                                          261

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

        He starts in that direction.

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

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

       're an American?

                        (friendly, easing the
                        man's fears)
                 Only if New Jersey counts.

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

                                                    CUT TO:

261-A   OUTSIDE BUILDING                                       261-A

                        (in mid-speech to FBI)
                 We've got thirty, maybe thirty-five
                 hostages, probably on the 30th floor...
                 seven, maybe eight terrorists.

                                LITTLE JOHNSON
                        (to Big Johnson)
                 Sounds like a standard A-7 scenario.

        Big Johnson nods in agreement, turns to Robinson.

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

        He starts to move away with his partner.

                 Aren't you forgetting something?

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

                                BIG JOHNSON
                 Such as...?

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

                                LITTLE JOHNSON
                 He's inside?  Who is he?

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

                                BIG JOHNSON
                 One of yours?

                        (too quickly)
                 No, sir.

                                BIG JOHNSON
                        (after a moment)
                 If he's not a terrorist, and he's
                 not a hostage...he's just not part
                 of the equation.

        They start to walk away.

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

                                LITTLE JOHNSON
                        (to Big Johnson)
                 That's one good thing.  Sound like
                 we're dealing with pros.

        They leave.

                                                    CUT TO:

262     THE COMPUTER FLOOR                                     262

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

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

263     CLOSER SHOT                                            263

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

                 Relax, smoke?

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

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

                 I'm a cop from New York.

                 New York...

                 They invited me to the Xmas party.
                 Who knew?

        Hans' eyes take in his bare feet.

                 Better than being caught with your
                 pants down, right?
                        (extending his hand)
                 John McClane.

                        (shaking hands)
                 William Clay.
                 Call me Bill.

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

264     THE WALL - A ROSTER OF NAKATOMI EMPLOYEES              264

        In alphabetical order.  CAMERA MOVES OVER the "c's":  CAMPBELL,

265     BACK TO SCENE                                          265

                 Bill, you know how to use a handgun?

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

                 Sounds better than nothing.

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

                 Time for the real thing.

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

265-A   NEW ANGLE                                              265-A

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

                 Karl!  Franco!  I'm on 33.  Come
                        (to McClane)
                 Put down your gun and give me my

        McClane just looks at him.

                 Hans.  Your Hans.

                        (nods, indicating McClane's
                        gun again)
                 Put it down now.

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

                 I'm going to count to three...

                 Yeah.  Like you did with Takagi.

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

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

                 You think I'm a shmuch, Hans.

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

                 You were saying.

        McClane whirls in time to see:

266-    OUT                                           OUT    266-
269                                                          269
260     KARL, FRANCO AND FRITZ                               270

        Coming out of it, FIRING.

271     BACK TO SCENE                                        271

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

272     WHERE HANS WAS                                       272

        He's gone, a SWINGING OFFICE DOOR the only evidence of his

273     BACK TO SCENE                                        273

        McClane curses himself, then RETREATS into a:

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

274     BANK OF COMPUTERS                                    274

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

275     FRANCO                                               275

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

276     CLOSER                                               276

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

277     MCCLANE                                              277

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

278     HANS                                                 278

        has reappeared and snatched up Franco's weapon.

279     MCCLANE                                              279

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

280     HANS                                                 280

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

                 The glass!  Shoot the glass!

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

281     MCCLANE                                              281

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

282     HIS FOOT                                             282

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

283     STAIRWELL DOOR                                       283

        He's out, gone, safe!

284     BACK TO SCENE                                        284

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

        He's holding the bag of detonators.

                 Smile, Karl.  We are back in business.

                                                    CUT TO:

285     INT. TV TRAILER                                      285

                        (on monitor here)
                 ...all depends on what we mean by
                 "Terror.'  If Clauswitz could say
                 'War is the last resort of Deplomacy,'
                 couldn't we just as well say that
                 terrorism has an equal claim to...

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

                 You got something?

                        (waving a paper)
                 Just McClane's name, badge number,
                 police record, vital statistics...
                        (the ringer)
                 ...And his family's address right
                 here in L.A.

        As Thornburg GRINS we GO TO:

286     HOSTAGE FLOOR                                         286

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

287     HOLLY AND GINNY                                       287

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

                 That one look pissed, Ms. Gennero...

                 Thank God.
                 He's still alive.

                                                    CUT TO:

288     UPSTAIRS - WASHROOM                                   288

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

                                                    CUT TO:

289     VAULT ROOM - SAME TIME                                289

        Theo and Kristoff REACT, delighted, as they get the message
        graphic flashes:  "ELECTROMAGNETIC SEAL ENGAGED.  CANNOT

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


290     HANS' OFFICE                                          290

                        (unphased)                                    *
                 Well have a look at what our friends
                 outside are doing and I'll be right

291     INT. BATHROOM - NIGHT                                 291

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

                        (on CB)
                 Roy?  You still with us?

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


292     POWELL - OUTSIDE                                      292

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

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

                        (through his teeth)
                 Yeah?  What's the odds?

                 You don't want to know.

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

                        (as he work)
                 Put me down for twenty anyway...I'm
                 good for, what got you off the
                 street, Al?  You liked lousy coffee,
                 or what?

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

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

        McClane throws the glass across the room, forehead bathed in

                 They way you drive, I can see why.

                        (beat, serious)
                 I...I shot a kid.

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

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

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

                 Hey, you couldn't know.

                 I still feel like shit.

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

        And as McClane REACTS we GO TO:

293     INT. VAULT ROOM - NIGHT                               293

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

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

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

        ON Theo's look:

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

                 When you're hot, you're hot.

                                                    CUT TO:           *

294     EXT. BUILDING                                        294

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

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

                                LITTLE JOHNSON

        The engineer THROWS GIANT LEVERS.  Inside the manhole, SPARKS
        SIZZLE and massive contacts CLUNK.

295     THE BUILDING                                          295

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

296     MCCLANE                                               296

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

                        (into CB)
                 Powell?  What's going on?


297     OUTSIDE                                               297

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

        McClane reacts, worried; he knows better.

298     THE HOSTAGES                                          298

        groan with this new problem:

299     THE VAULT ROOM                                        299

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

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

300     SAFE LED READOUT                                      300


301     BACK TO SCENE                                         301

                 Damn!  It didn't go!

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

                 Encourage them to be bolder.

                 The only thing left for them is the
                 City Grid...
                        (worried, typing)
                 ...They may not do it.

302     EXT. BUILDING                                         302

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

                                LITTLE JOHNSON
                        (turning, to the
                 Cut it again.  Go wider.

                 I can't go wider here...
                        (to Robinson, looking
                        for help)
                 ...I'd have to call downtown have
                 them take down one of the city
       're talking ten square
                 block --

                 -- ten blocks?
                        (to Big Johnson)
                 Are you crazy?  It's Christmas Eve,
                 thousands of people -- the Mayor'll
                 scream bloody murder --

                                BIG JOHNSON
                        (ignoring Robinson,
                        to the Engineer)
                 We must shut down the building.  Go
                 wider --!

                 I need authorization --

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

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

                        (takes phone)
                 Central.  This is Walt, out at
                 Nakatomi.  I want you to shut down
                 grid 212.
                 No shit, it's my ass.  Just shut it
                 down now.

        OUT AGAIN.

303     IN THE VAULT ROOM                                     303

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

304     THE LED READOUT ON THE SAFE                           304


305     BACK TO SCENE                                         305

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

306     OUTSIDE                                               306

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

                                BIG JOHNSON
                 That should shake'em up.  With all
                 the power shut down, those bastards
                 are probably scared shitless.

307     IN THE VAULT ROOM                                     307

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

                                                    CUT TO:

308     THORNBURG'S TV TRUCK                                  308

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

                                                    CUT TO:

309     OUTSIDE THE NAKATOMI BUILDING                         309

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

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

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

                                BIG JOHNSON
                 Right up the ass.
                        (into another communicator)
                 This is the other one.  I
                 want that air support ready to lift off
                 in five minutes...Damn right fully
                 armed.  We're on our way.
                        (into CB)
                 Attention in the building.


310     VAULT ROOM                                            310

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

                 This is Hans...

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

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

        He disconnects, smiles at Theo.

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

                                BIG JOHNSON
                        (disconnecting, grinning)
                 By the time he figures out what hit him
                 he'll be in a body bag.

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

                                MCCLANE'S VOICE
                 Powell, listen...

        Powell moves off to be alone.


311     INT. BATHROOM                                         311

                 I'm here, John.

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

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

                        (clearly touched)
                 I got it.  But you can tell her
                 yourself.  Just watch your ass and
                 you'll make it.

                 I hope so.  But that's up to the
                 guy upstairs.
                        (pause; struck by
                        a thought)
                        (thinking, to himself)
                 ...Hans, you bastard...what were you


                 Stand by, Powell.  I gotta check
                 something out.

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

                                                    CUT TO:

312     HOLLY'S FRONT DOOR                                    312

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

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

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

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

        As she wavers...

                                                    CUT TO:

313     THE MECHANICAL FLOOR                                  313

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

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

314     HIS P.O.V.                                            314

        Explosives are everywhere.

315     BACK TO SCENE                                         315

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

                 Oh my God...

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

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

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

316     NEW ANGLE                                             316

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

                                                    CUT TO:

317     EXT. BUILDING - POLICE LINES                          317

        Powell is beside one of the radio monitoring officers.

                        (into CB)
                 Roy?  Hello?  Hello?
                        (to the officer)
                 I thought you had him.

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

                        (looking off)
                 Tell me about it.

318     NEW ANGLE                                             318

        Showing two HELICOPTERS in the distance heading this way.

                                                    CUT TO:

319     MACHINE FLOOR                                         319

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

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

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

320     NEW ANGLE                                             320

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

                                                    CUT TO:

321     HOSTAGE FLOOR - NIGHT                                 321

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

                 They're coming.

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

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

322     CLOSEUP - HOLLY                                       322

        She's speechless, watching in shock as:

323     THE PORTABLE TV                                       323

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

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

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

                 Come home.

324     HOLLY                                                 324

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

325     HER P.O.V. - HANS                                     325

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

                 Mrs. McClane.  How nice to make your

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

                 On your feet, everyone!  Upstairs,
                        (quietly, to Uli)
                 You'll lock them up there and come
                 right down...

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

                                                    CUT TO:

326     THE MACHINE FLOOR                                     326

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

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

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

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

327     NEW ANGLE                                             327

                 You should've heard your brother
                 scream when I broke his fucking

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

                                                    CUT TO:

328     INSIDE AN FBI CHOPPER - IN FLIGHT                     328

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

                                BIG JOHNSON
                        (shouting, to the pilot)
                 Stay low.  They're expecting transports,
                 not gunships.

                                LITTLE JOHNSON
                        (shouting over the noise
                        of the rotors)
                 What do you figure on breakage?

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

                                LITTLE JOHNSON
                 I can live with those numbers.

                                                    CUT TO:

329     VAULT FLOOR                                           329

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

                 A little bonus for us.
                        (shoving her forward
                 A policeman's wife might come in

        He picks up a CB, speaks into it.

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

330     THE MACHINE FLOOR                                     330

        TILT UP from the CB radio Karl smashed.

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

331     THE VAULT ROOM                                        331

                        (pause, then on a
                        new channel)
                 Karl?  Karl?

        Nothing.  He looks at Theo.


332     THE ROOF                                              332

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


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

334     POWELL AND ROBINSON                                   334

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

335     HOSTAGES ON THE ROOF                                  335

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

336     VAULT ROOM                                            336

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

                        (to Hans, scornfully)
                 After all your posturing, all your
       're nothing but a common

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

        He SLAPS her.

337     MACHINE FLOOR                                         337

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

338     LOW ANGLE                                             338

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

339     MCCLANE                                               339

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

340     KARL                                                  340

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

341     MCCLANE                                               341

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

                                                    CUT TO:

342     CHOPPERS - IN THE AIR                                 342

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

                                BIG JOHNSON
                 Just like Saigon, eh, Wally?

                 My kind of town.

                                                    CUT TO:

343     THE ROOF                                              343

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

                 Where's Holly --

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

                 What?  God --

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

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

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

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

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

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

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

                 GET BELOW!  NOW!

344     IN THE WING CHOPPER - MID-AIR                         344

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

                                YOUNG FBI
                        (into throat mike, looking
                        out the door)
                 Flight leader, this is Wing.  I think
                 they're on to us.  One of the terrorists
                 is firing on the hostages.

345     INSIDE THE OTHER CHOPPER                              345

                                LITTLE JOHNSON
                        (into mike)
                 Roger, Wing.  We copy.
                        (to the pilot)
                 Swing around.
                        (raising his rifle)
                 Give me a clear shot.

        The pilot nods.

346     INT. VAULT ROOM                                       346

                        (supervising the work)
                 Schnell, schnell...der zeitz ist kurz...

        Something catches his eye.  He turns, looks at:

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

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

                                                    CUT TO:

348     THE ROOF                                              348

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


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

350     IN THE CHOPPER                                        350

        Both Johnsons FIRE AWAY

                                BIG JOHNSON
                 Bank and we'll nail him!

351     THE VAULT ROOM                                        351

        Hans whirls towards Kristoff.

                 Blow the roof.  Now!

                 But Karl and Uli are up there --

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

352     THE ROOF                                              352

        McClane DIVES away from another burst.

                 You assholes, I'm on your side -- !

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

                 Fuck this...
        Bullets HIT all around him.  He JUMPS:

353     THE VAULT ROOM                                        353

        Hans extends the antenna...HITS the button.

354     LONG SHOT - THE ROOF                                  354

        The helipad EXPLODES!  A FIREBALL rolls into the sky.

355     THE HOSTAGES                                          355

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

356     JOHNSON AND JOHNSON'S CHOPPER                         356

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

357     MCCLANE                                               357

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

358     THE ROOF - HOSE WHEEL DEVICE                          358

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

359     MCCLANE                                               359

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

360     INSIDE THE BUILDING                                   360

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

361     UP ON THE ROOF                                        361

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

362     OUTSIDE THE BUILDING                                  362

        The hose mechanism tumbles downward!

363     INSIDE                                                363

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

364     THE HOSE WHEEL - OUTSIDE                              364

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

365     MCCLANE                                               365

        CLAWS at the help.  Inches from the shattered window,
        he braces his legs against the sill, groans as he fights the
        weight of the hose and the reel.  One foot SLIPS.  Only his
        already wounded foot keeps him indoors.

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

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

366     THE ROOF                                              366

        to RECOIL from another staggering explosion!

367     THE HOSTAGES                                          367

        They scream, cry out:

368     IN THE VAULT ROOM                                     368

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

369     MCCLANE                                               369

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

370     THE SHAFT                                             370

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

371     BACK TO SCENE                                         371

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

372     THE ELEVATOR                                          372

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

373     WIDE SHOT                                             373

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

374     THE VAULT FLOOR BALCONY                               374

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

                                                    CUT TO:

375     EXT. BUILDING                                         375

        The police are scrambling for cover.  Powell and Robinson are

376     IN THE BASEMENT                                       376

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

377     HIS P.O.V. - THEO                                     377

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

378     MCCLANE - ON THE VAULT FLOOR                          378

        He creeps forward, looks carefully into:

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

        They're getting ready to leave with the bearer bonds.  Suddenly

380     BACK TO SCENE                                         380

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

                        (under his breath)

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

380-A   IN THE BASEMENT                                       380-A

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

381     ARGYLE                                                381

        Realization dawning, he vaults into the front seat.

382     THE GARAGE                                            382

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

383     CLOSER                                                383

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

                        (looking around)
                 Where's the camera when you need them?

                                                    CUT TO:

384     THE VAULT ROOM                                        384

                 Let's move.

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

385     WIDER                                                 385

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


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


                 Holly, we have to stop meeting like
                        (taking in the vault)
                 So that's what it was.  A fucking
                 So why nuke the building, Hans?

                        (with a shrug)
                 When you steal six hundred dollars,
                 you can disappear...but when you
                 steal six hundred million, they will
                 find you...unless you play dead.
                        (tight smile)
                 Which happens to be your next role...
                 drop your gun, please.

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

                        (to Eddie)
                 Nein, dies ein ist mein.
                        (to McClane)
                 This time John Wayne does not walk
                 off into the sunset with Grace Kelly.

                 That was Gary Cooper, shithead...

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

                        (slowly putting down
                        his gun)
                 Whoa, Hans, now you're the cowboy?

                 'Yippe-ki-yea, mother fucker'?  Now
                 you are fucked.

        He aims:

                 Holly, now...!

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

386     MCCLANE - OVER SHOULDER SHOT                          386

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

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


        Eddie takes a gunshot, DROPS just like on Gunsmoke.

388     BACK TO SCENE                                         388

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

389     MCCLANE                                               389

                 You were right about us Americans.
                        (he blows smoke
                        from his pistol
                 We are cowboys.

390     VAULT ROOM - WIDER                                    390

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

391     HOLLY'S WRIST                                         391

        and she is YANKED off her feet!

392     BACK TO SCENE                                         392

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

393     EXT. BUILDING - LONG SHOT                             393

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

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

394     HANS' HAND - WIDEN                                    394

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

395     MCCLANE                                               395

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

396     VERY CLOSE                                            396

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

397     WIDER                                                 397

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

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

        McClane pulls Holly back into the room and holds her.

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

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

                 You got a warranty on this?

        She laughs through her tears, holds onto him.

                                                    DISSOLVE TO:

398     EXT. BUILDING - DAWN                                  398

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

399     CLOSER                                                399

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

                        (calling out)
                 Al?  Al, you here -- ?

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

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


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

                        (taking Powell's hand,
                 Holly McClane.

        Hearing this, McClane grins, pulls her close.                 *

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


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

                 You know, about him being such a
                 jerk -- and how he's really sor --
                        (seeing McClane)
                 -- ee...Uh, I'm sure he'll fill
                 you in.

        Just then Robinson barges forward.

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

        A SCREAM causes McClane to turn.

400     HIS P.O.V.                                            400

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

401     EXT. BUILDING                                         401

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

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

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

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

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

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

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

                        (eager)                                       *
                 Did you get that?

        McClane and Holly continue on, turn towards:                  *

402     ARGYLE'S LIMO                                         402

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

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

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

                                                    FADE OUT

                             THE END

                             Twentieth Century Fox SCRIPT DEPARTMENT
                             10201 W. Pico Boulevard, Los Angeles, CA 90035
                             Telephone:  (213) 203-2494

Die Hard

Writers :   Jeb Stuart  Steven E. De Souza
Genres :   Action  Thriller

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