Jeb Stuart - Die Hard Part 2 lyrics

ELLIS John, they're giving me a few minutes to try and talk some sense into you. I know you think you're doing your job, and I can appreciate that, but you're just dragging this thing out. None of us gets out of here until these people can negotiate with the LA police, and they're just not gonna start doing that until you stop messing up the works. MCCLANE (carefully) Ellis, what have you told them? ELLIS I told them we're old friends and you were my guest at the party. McClane sighs, partially relieved. Hans meanwhile, narrows his eyes. MCCLANE Ellis...you shouldn't be doing this... ELLIS Tell me about it. He looks at Hans, who gives him a nod. ELLIS All right...John, listen to me...They want you to tell them where the detonators are. They know people are listening. They want the detonators of they're going to k** me. Ellis gives Hans a big "ok" sign. Hans returns it. 236 INT. POLICE TRAILER - ON POWELL, ROBINSON - SAME 236 and others listening intently. McClane closes his eyes and leans his head back again. He knows what is going to happen, even if this poor ba*tard Ellis doesn't. ELLIS' VOICE John, didn't you hear me? MCCLANE (to CB, quietly) Yeah, I hear you, you f**ing moron! ELLIS John, I think you could get with the program a little. The police are here now. It's their problem. Tell these guys where the detonators are so no one else gets hurt. Hey, I'm putting my life on the line for you buddy... MCCLANE Don't you think I know that! Put Hans on! Hans, listen to me, that sh**head doesn't know what kind of scum you are, but I do -- HANS Good. Then you'll give us what we want and save your friend's life. You're not part of this equation. It's time to realize that. Saying this, Hans takes out his gun, points it at Ellis, smiling. Ellis smiles, too. ELLIS What am I, a method actor? Hans, babe, put away the gun. This is radio, not television... MCCLANE That a**hole's not my friend! I barely know him! I hate his f**ing guts -- (desperately sincere)-- Ellis, for Christ's sake, tell him you don't mean sh** to me -- ELLIS John, how can you say that, after all these years--? John? John? Ellis looks at Hans and shrugs, "Well, I tried..." Hans nods understandingly. He takes the CB, presses the TALK bu*ton, and in one frighteningly smooth motion brings the Walther up to Ellis' forehead and PULLS THE TRIGGER. CUT TO: 237 INT. 33RD FLOOR - MCCLANE 237 He was expecting the SHOT but it still chills him. 238 30TH FLOOR - HOLLY AND HOSTAGES 238 She lowers her head sadly. Around her, the others go CRAZY as they see Ellis' blood splattered on the gla** walls on Hans' office. 239 INT. HANS' OFFICE - ON HANS 239 He throws open the door to let McClane and the police hear the screams of the hostages. HANS Hear that? Talk to me, where are my detonators. Where are they or shall I shoot another one? Sooner or later...(taking a shot) ...I might get to someone you do care about. MCCLANE (after a beat) Go f** yourself. He DISCONNECTS. 240 EXT. BUILDING 240 Powell fends off Robinson, who wants the CB. ROBINSON Goddamn, didn't you hear him! He practically pulled the Goddamned trigger himself -- he gave that man to them -- POWELL Christ, can't you read between the lines! He did everything he could to save him...if he gave himself up they'd both be dead! ROBINSON Maybe. And maybe they'd at least be talking to us! Now tell your 'partner' to stay out of it, or so help me if he lives through this I'll put him behind bars myself! POWELL (amused) He's alone, tired, hunted, and hasn't seen diddly-squat from us and you think he gives a flying f** about what you're going to do to him? Robinson, wake up and smell the sh** you're shoveling! ROBINSON (cold) Anytime you want to go home, Sergeant...consider yourself dismissed. They lock eyes. POWELL No Sir. You couldn't drag me away. HANS' VOICE (over CB) Attention police. Attention police. It's a**es and elbows time. Tape recorders are started. POWELL (starting to speak) This is -- ROBINSON (taking the CB away) This is Deputy Chief Robinson. Who is this? INTERCUT: 241 HANS' OFFICE 241 HANS This is Hans Gruber. I a**ume you realize the futility of direct action against me. We have no wish for further loss of life. ROBINSON What do you wish for, Mister Gruber? HANS I have comrades in arms around the world who are languishing in prison. The American State Department enjoys rattling its saber to its own ends... now it can rattle it for me. INTERCUT: 242 MCCLANE 242 Listening to this with expressions ranging from astonishment to dismay to outright derisive amusement. HANS' VOICE ...The following people are to be released from their captors: In Northern Ireland, the seven members of the New Provo Front. In Canada,the five imprisoned leaders of Liberte de Quebec... 243 HANS' OFFICE 243 HANS ...in Sri Lanka, the nine members of the Asian Dawn movement... KARL (sotto) 'Asian Dawn Movement?' HANS (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 comply. ROBINSON Two hours? Are you insane? I can't authorize...hello? Hello? KARL Do you think they'll even try to do it? HANS Who cares?(on another channel) Theo. Are we on schedule? INTERCUT: 244 VAULT ROOM 244 Theo and Kristoff have been rewarded with another LOCK DEACTIVATED. THEO * One more to go...then it's up to you. The graphic on his screen flashes: "WARNING: ELECTRO- * MAGNETIC SEAL ARMED." * THEO And you better be right, because this one's going to take a miracle. HANS * It's Christmas, Theo, it's the time of miracles. So be of good cheer and call me when you hit the last lock. (disconnecting) Karl...hunt the little sh** down and get those detonators. * KARL Franco is checking the explosives, Fritz is with him. HANS I'll check the explosives. You just get those detonators. 245 MCCLANE - 32ND FLOOR 245 As he talks, he essentially PATROLS the floor he's staked out, constantly looking into every dark corner, gun held ready, moving toward the stairwell. MCCLANE Al? Al, you there? POWELL I'm here, cowboy. MCCLANE Speaking of cows, did you ever hear so much bullsh** in your life? Two hours? That doesn't even make any sense -- POWELL Don't tell me, partner. I'm just a desk jockey who was on the way home when you rang. MCCLANE The way you drove that car, I figured you for the streets. POWELL In my youth, partner. In my youth. 246 INT. TV STUDIO - NIGHT 246 Gail and Harvey have company, a man from the Senator Paul Simon's school of grooming. GAIL (in mid-speech) ...author of...(holding up a copy) 'Hostage/Terrorist, Terrorist/Hostage, a Study in Duality.' Dr. Ha**eldorf, what can we expect in the next few hours? HASSELDORF Well, Gail, by this time the hostages and their captors should be entering the early stages of the Helsinki Syndrome. HARVEY As in Helsinki, Sweden? 247 CONTROL ROOM 247 Sam sighs, shakes his head. HASSELDORF (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 floor. HASSELDORF (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 bu*tress, starts to climb up, not enjoying it. 250- OUT OUT 250- 253 253 CUT TO: 254 OUTSIDE THE BUILDING 254 Robinson looks at a YOUNG COP, reacts, startled: ROBINSON The...the FBI? Here? Now? YOUNG COP Yessir. Right over there. Robinson looks at Powell, adjusts his clothing, fixes his tie. POWELL (dryly) 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 Johnson...no relation. ROBINSON (stepping forward, plastic smile) Dwayne Robinson, LAPD. I'm in charge here. BIG JOHNSON Not any more. As Robinson REACTS, we GO TO: 257 THE MECHANICAL FLOOR - TIGHT ON HANS 257 He checks the plastique, not pleased. He turns, DROPS to the floor. 258 LOW ANGLE 258 He lands, knees bent...looks directly at a PAIR OF BARE FEET. A GUN BARREL DROPS INTO THE SHOT close to his head. MCCLANE Lost? 259 NEW ANGLE 259 A moment. And then Hans turns, looks up. The transformation in his expression and bearing are mind- boggling. Hands shaking, eyes filled with fear, he swallows, looks up at McClane and in a perfect American accent says: HANS --ohGodplease -- don't k** me -- don't k** me -- you're one of them, I know it -- MCCLANE (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 bu*tRESS TEN FEET AWAY 260 Where a tiny piece of his gun sticks out, barely visible. 261 BACK TO SCENE 261 HANS A way up to the roof...I thought I could signal for help -- He starts in that direction. MCCLANE Forget it. They got a guy up there. You want to stay alive, keep moving. Hey? You hear me? Hans realizes this tack won't work. He follows McClane. HANS You...you're an American? MCCLANE (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 ROBINSON (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. POWELL (angry)Aren't you forgetting something? Johnson and Johnson turn. Robinson wants Powell to shut up. BIG JOHNSON Such as...? POWELL (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? ROBINSON (nodding) He may be a cop...we're checking on that -- BIG JOHNSON One of yours? ROBINSON (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. POWELL (indignant) T...that's the same Goddamn thing the terrorists said! LITTLE JOHNSON (interested) Really? (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." HANS (nodding) There was a party -- celebration -- all of a sudden they were there -- shooting -- threatening us -- 263 CLOSER SHOT 263 McClane looks at this poor civilian, on the edge of going to pieces. He puts his hand on his shoulder. MCCLANE Relax, man...you smoke? Hans nods, still "frightened". McClane takes out his spoils of war, the Marlboros. Two left. He sighs, takes one, offers the other one with an expression like a little boy forced to share a cookie. McClane takes out a lighter, does his and Hans'. Hans nods, grateful...then peers at McClane. HANS You...you don't work for Nakatomi... and if you're not one of them... MCCLANE I'm a cop from New York. HANS (puzzled) New York... MCCLANE (explaining) They invited me to the Xmas party. Who knew? Hans' eyes take in his bare feet. MCCLANE Better than being caught with your pants down, right? (extending his hand) John McClane. HANS (shaking hands) William Clay. (smiling) Call me Bill. McClane nods, friendly like, and his eyes glance casually over at: 264 THE WALL - A ROSTER OF NAKATOMI EMPLOYEES 264 In alphabetical order. CAMERA MOVES OVER the "c's": CAMPBELL, S.: CLAY, WM.: CRAWFORD, L...PANS BACK TO CLAY. 265 BACK TO SCENE 265 MCCLANE Bill, you know how to use a handgun? HANS (hesitant) One weekend I went to a combat ranch... (apologetic) You know, that game with the, the guns that shoot red paint? Must sound pretty silly to you... MCCLANE Sounds better than nothing. McClane takes out his Baretta, pops out the magazine, jams in a fresh one and hands it to him. MCCLANE Time for the real thing. McClane turns, moves on...we STAY ON him until he REACTS to a CLICK. He slowly turns: 265-A NEW ANGLE 265-A Hans is...well, Hans again, from expression to posture. He holds the pistol aimed at McClane's face and talks calmly into his radio in German. HANS Karl! Franco! I'm on 33. Come quickly. (to McClane) Put down your gun and give me my detonators. McClane just looks at him. MCCLANE Hans. Your Hans. HANS (nods, indicating McClane's gun again) Put it down now. MCCLANE That was tricky, with the accent. I bet you do a great Ed Sullivan. Why do you need the detonators, Hans? I already used the explosives. HANS I'm going to count to three... MCCLANE (cold) Yeah. Like you did with Takagi. McClane raises his machine gun, aims at Hans. Hans PULLS THE TRIGGER. Click. Astonishment. Click-click-click. McClane steps in carefully, reclaims his pistol. MCCLANE You think I'm a shmuch, Hans. Hans pales as we hear the ding of an approaching elevator. HANS You were saying. McClane whirls in time to see: 266- OUT OUT 266- 269 269 260 KARL, FRANCO AND FRITZ 270 Coming out of it, FIRING. 271 BACK TO SCENE 271 McClane FIRES back, k**ing Fritz. Karl and Franco take cover. McClane ducks into a water cooler alcove, looks back at: 272 WHERE HANS WAS 272 He's gone, a SWINGING OFFICE DOOR the only evidence of his pa**ing. 273 BACK TO SCENE 273 McClane curses himself, then RETREATS into a: 273-A- OUT OUT 273-A- 273-I 273-I 274 BANK OF COMPUTERS 274 Where he DUCKS and DODGES as bullets ping and ricochet all around him. Ducking, rolling, he FIRES at: 275 FRANCO 275 McClane's bullets RAKE his middle, throw him over a desk, his weapon FLYING: 276 CLOSER 276 He SLIDES right into a gla** door. It smashes around his head. Bright arterial BLOOD fountains up: 277 MCCLANE 277 hope rising at the prospect of an equal battle, his face suddenly FALLS as BULLETS fly in from an unexpected direction. He turns: 278 HANS 278 has reappeared and snatched up Franco's weapon. 279 MCCLANE 279 FIRES, moving, trying to keep from bring flanked. One of his shots SHATTERS a gla** panel, raining down shards near Hans, who escapes with only superficial scratches. 280 HANS 280 looks at the gla** around him, gets an idea. He SHOUTS to Karl in German: HANS The gla**! Shoot the gla**! And, saying this, he demonstrates. Karl follows suit. 281 MCCLANE 281 as 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. HANS Smile, Karl. We are back in business. CUT TO: 285 INT. TV TRAILER 285 HASSELDORF (on monitor here) ...all depends on what we mean by "Terror.' If Clauswitz could say 'War is the last resort of Diplomacy,' couldn't we just as well say that terrorism has an equal claim to... Mary comes inside, grinning ear to ear. Thornburg looks up from his danish, a cute little chin napkin protecting his shirt collar. THORNBURG You got something? MARY (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. GINNY That one look pissed, Ms. Gennero... HOLLY (relieved)Thank God. (explaining) He's still alive. CUT TO: 288 UPSTAIRS - WASHROOM 288 The door JARS open. McClane all but crawls inside. As he pa**es the CAMERA we SEE his dragging foot leaving a trail of blood on the linoleum. CUT TO: 289 VAULT ROOM - SAME TIME 289 Theo and Kristoff REACT, delighted, as they get the message SIXTH LOCK DEACTIVATED. Suddenly a BUZZER SOUNDS and the graphic flashes: "ELECTROMAGNETIC SEAL ENGAGED. CANNOT BE DISARMED AT THIS LOCATION. TERMINATE SEQUENCE (Y/N)?" THEO You better heat up that miracle you were talking about. We broke through on Number Six, and the Electromagentic came down like a sledgehammer... INTERCUT: 290 HANS' OFFICE 290 HANS (unphased) * Well have a look at what our friends outside are doing and I'll be right up. 291 INT. BATHROOM - NIGHT 291 Wincing in pain, McClane washes his foot in a sink basin. He washes a deep cut, soaps it, but the pain doesn't relent. When a VOICE speaks, he JUMPS, realizes it's the CB. POWELL (on CB) Roy? You still with us? MCCLANE Yeah. But all things being equal, I'd rather be in Philadelphia. By the way, chalk up two more terrorists. INTERCUT: 292 POWELL - OUTSIDE 292 POWELL They boys'll be glad. We got a pool going on you. McClane tries to wrap paper towels on the foot but his grimace shows that is still hurts like hell. MCCLANE (through his teeth) Yeah? What's the odds? POWELL You don't want to know. Suddenly remembering an NYPD course in first aid from ten years ago, McClane removes the improvised bandage, check the cut more carefully. MCCLANE (as he work) Put me down for twenty anyway...I'm good for it...so, what got you off the street, Al? You liked lousy coffee, or what? Powell doesn't answer right away. At the same time, McClane swallows, seeing a gleam inside his foot. He gingerly probes, and pulls out a shard of gla** almost three inches long from its angled gash, his mouth twisted in a silent scream all the way. POWELL'S VOICE I...realized I couldn't do what I had to anymore...at least not out there. I had an...accident. McClane throws the gla** across the room, forehead bathed in sweat. MCCLANE (weakly) They way you drive, I can see why. POWELL (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. POWELL (soft) Eleven years ago. Oh, it was dark... he was big for his age...damn ray gun he had looked real enough...yeah, I had all the right excuses...but afterwards... I really couldn't draw my gun again. MCCLANE I...I'm sorry. I didn't mean to make a joke of it. POWELL (offhand) Hey, you couldn't know. MCCLANE I still feel like sh**. POWELL Then this won't matter. (reluctantly) 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? HANS That's the FBI...ordering them to cut the building's power. They're as regular as clockwork...or a time lock... ON Theo's look: HANS ...the circuits that cannot be cut... are cut automatically in reponse to a terrorist incident...You ask for miracles, Theo...I give you the FBI... THEO When you're hot, you're hot. CUT TO: * 294 EXT. BUILDING 294 As we saw on Theo's screen, the Johnsons and Robinson and Powell are my a MANHOLE with a CITY ENGINEER. A big CONTROL BOX is there, cables snaking into the ground where another CITY WORKER finishes WELDING a last connection. GUY IN MANHOLE We're spliced in down the line. LITTLE JOHNSON Do it...now. The engineer THROWS GIANT LEVERS. Inside the manhole, SPARKS SIZZLE and ma**ive contacts CLUNK. 295 THE BUILDING 295 One by one, all the light on all the floors GO OUT. 296 MCCLANE 296 in the bathroom, ripping off his shirt and tying it around his foot, he REACTS -- MCCLANE (into CB) Powell? What's going on? INTERCUT: 297 OUTSIDE 297 POWELL (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 It still reads "FIBER OPTIC TIME LOCK CANNOT BE DISARMED AT THIS LOCATION. TERMINATE SEQUENCE (Y/N)?" 301 BACK TO SCENE 301 KRISTOFF Damn! It didn't go! THEO They're on the building circuit... it's too local. HANS Encourage them to be bolder. THEO The only thing left for them is the City Grid...(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 sh**! (turning, to the Engineer) Cut it again. Go wider. ENGINEER 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 grids...you're talking ten square block -- ROBINSON-- 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 --! ENGINEER I need authorization -- BIG JOHNSON Authorization? How about the United States f**ing Government Lose the grid or lose your job! The engineer looks at Robinson. No help. The engineer looks at his guy in the manhole, shrugs. No choice. ENGINEER(takes phone) Central. This is Walt, out at Nakatomi. I want you to shut down grid 212. (listens) No sh**, it's my a**. Just shut it down now. Pause...pause...AND THEN THE FLOORS OF THE BUILDING ALL GO OUT AGAIN. 303 IN THE VAULT ROOM 303 EMERGENCY LIGHTING FLICKS ON. An ALARM "beep-beep-beeps." 304 THE LED READOUT ON THE SAFE 304 changes to "FIBER OPTIC TIME LOCK DEACTIVATED AT SOURCE. SEVENTH LOCK DISENGAGED." 305 BACK TO SCENE 305 With a dramatic HUM worthy of 2001, the vault door OPENS! 306 OUTSIDE 306 The FBI guys look at the dark building, than at the LAPD guys. BIG JOHNSON That should shake'em up. With all the power shut down, those ba*tards are probably scared sh**less. 307 IN THE VAULT ROOM 307 The safe door finishes its ponderous move, CLUNKS to a halt. Theo and Kristoff LAUGH, give each other high fives. Even Hans loses his usual cool, slaps Theo on the back as Theo and Kristoff CHEER. CUT TO: 308 THORNBURG'S TV TRUCK 308 drives along a residential street. We SEE the Nakatomi tower in the b.g., spotlit by the police beams. Thornburg checks a map, POINTS a turn out to the driver. CUT TO: 309 OUTSIDE THE NAKATOMI BUILDING 309 Powell looks up at the dark structure lit only by emergency lighting. He sidles over to the FBI men. POWELL (dryly) What do we do now, arrest them for not paying their electric bill? LITTLE JOHNSON (sharply) We let them sweat awhile. Then, when they're expecting helicopters...(pause)...We give them helicopters... BIG JOHNSON (nodding) Right up the a**...(into another communicator) This is Johnson...no the other one. I want that air support ready to lift off in five minutes...Damn right fully armed. We're on our way. (into CB) Attention in the building. INTERCUT: 310 VAULT ROOM 310 Hans talks while Theo and Kristoff tackle the problem of unloading the racks and racks of bonds and transferring them to the black cases. HANS This is Hans... BIG JOHNSON This is Agent Johnson of the FBI. The State Department has arranged for the release of your comrades. The helicopters you requested are on the way. HANS I hear you, FBI. We'll be ready. He disconnects, smiles at Theo. HANS When they touch down and we blow the roof, they'll spend a month sifting through the bodies and rubble. By the time they figure out what went wrong...(smiling at the irony)...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. INTERCUT: 311 INT. BATHROOM 311 POWELL I'm here, John. McClane tries walking on his foot. He winces in pain, clearly at the end of his resources. MCCLANE (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. (pause) You get all that? POWELL (clearly touched) I got it. But you can tell her yourself. Just watch your a** and you'll make it. MCCLANE I hope so. But that's up to the guy upstairs. (pause; struck by a thought) Upstairs...(thinking, to himself)...Hans, you ba*tard...what were you doing? POWELL Roy? MCCLANE Stand by, Powell. I gotta check something out. He moves towards the door, limping hurriedly out of the room. CUT TO: 312 HOLLY'S FRONT DOOR 312 Thornburg's got one foot literally in the doorway, but since Paulina still has the chain on, it's not quite enough. THORNBURG (to Paulina) One minute, that's all we ask. You could be denying them their last chance to talk to their parents. PAULINA I'm sorry...Mrs. Holly says I couldn't let strangers into -- THORNBURG Strangers? I'm with KFLW TV, that's affiliated with the FCC, and I'm sure you know that's the United States government...just like the INS? As she wavers... CUT TO: 313 THE MECHANICAL FLOOR 313 McClane hobbles in here, favoring his foot. He retraces his steps earlier, mentally replaying his meeting with Hans. MCCLANE I was here...he was... His eyes flick over the area...then he looks up. Seeing something, he moves closer. He sets down his CB and then, with difficulty, he climbs up on a thick pipe, flicks his lighter and hold its high. 314 HIS P.O.V. 314 Explosives are everywhere. 315 BACK TO SCENE 315 He reacts, quickly extinguishing the lighter. He follows the detonator lines with his eyes. MCCLANE Oh my God... He drops to the floor, winces in pain, picks up his CB. MCCLANE Powell! Powell, listen to me! You're being double crossed! The whole roof of this building is -- Suddenly a GUN BARREL is pressed against his head. He stiffens. 316 NEW ANGLE 316 Karl takes his Baretta, tosses it away. Then Karl takes the CB. Smiling, Karl SMASHES the transmitter underfoot. CUT TO: 317 EXT. BUILDING - POLICE LINES 317 Powell is beside one of the radio monitoring officers. POWELL (into CB) Roy? Hello? Hello? (to the officer) I thought you had him. OFFICER I did. He said something about a, a double cross... POWELL (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. KARL (quietly) We're both professionals. But this is personal. You...are done. WHAM! McClane DRIVES his elbow into Karl's face. 320 NEW ANGLE 320 Karl's weapon clatters on the floor. McClane follows his first blow with another. Karl recovers, and with a spinning karate kick SLAMS McClane back. CUT TO: 321 HOSTAGE FLOOR - NIGHT 321 Eddie turns from a window, where the chopper lights loom closer. EDDIE They're coming. CAMERA PANS across the room to the doorway of the office, where Hans nods, stands. THORNBURG'S VOICE FROM TV -- I know you're proud of your daddy... 322 CLOSEUP - HOLLY 322 She's speechless, watching in shock as: 323 THE PORTABLE TV 323 shows Thornburg at Holly's house! He's squatting down with his microphone to interview the children in their P.J.s. His voice is soft, comforting. THORNBURG (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 watching? John Jr. says nothing, but Lucy looks at the camera. LUCY Come home. 324 HOLLY 324 She struggles to stay composed...can't. She slowly turns her head, looks at Hans. 325 HER P.O.V. - HANS 325 He's looking away from us, at the picture of the children on her desk. He turns back and looks at her. He smiles. HANS Mrs. McClane. How nice to make your acquaintance. He raises his weapon...but he only shoot it into the ceiling, making everyone jump! HANS (shouting) On your feet, everyone! Upstairs, now! (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. MCCLANE Better this way, isn't it? I mean, any f*ggot can shoot a gun. This time Karl doesn't take the bait. Then, when he does charge, it's unexpected. The two men fight brutally, Karl bringing years of martial training to this moment, McClane bringing nothing but the street. 327 NEW ANGLE 327 MCCLANE You should've heard your brother scream when I broke his f**ing neck... Karl steps in quickly with a deadly move. McClane twists free, slams an elbow into Karl's kidney. Karl backs off, circles McClane with new respect. CUT TO: 328 INSIDE AN FBI CHOPPER - IN FLIGHT 328 THROUGH THE CANOPY we SEE another flanking chopper. Johnson and Johnson are here, helmets and mikes on. Big Johnson checks aerial maps while Little Johnson checks ammo clips for his sniper scoped a**ault rifle. BIG JOHNSON (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. HANS A little bonus for us. (shoving her forward violently) A policeman's wife might come in handy. He picks up a CB, speaks into it. HANS McClane! McClane! I have some news for you...McClane? 330 THE MACHINE FLOOR 330 TILT UP from the CB radio Karl smashed. Karl and McClane are in the b.g., almost toe to toe, all their tricks played out, going at it with animal instinct. 331 THE VAULT ROOM 331 HANS McClane?(pause, then on a new channel) Karl? Karl? Nothing. He looks at Theo. HANS Hurry. 332 THE ROOF 332 Uli herds the hostages up onto the roof, pushing the last few out. 333 LONG SHOT - FBI CHOPPERS - DOWN AVE. OF THE STARS 333 They float toward us, hugging the street, their prop wash shaking the trees. 334 POWELL AND ROBINSON 334 Following them with their eyes, for once sharing the same opinion. 335 HOSTAGES ON THE ROOF 335 They see their very own Christmas decorations, the friendly copter lights, and begin to smile and cheer. Uli smiles to himself, moves towards the door: 336 VAULT ROOM 336 Theo closes the lid of a bond-stuffed case, carries it out of the room. Holly's eyes follow his exit while the others continue. HOLLY (to Hans, scornfully) After all your posturing, all your speeches...you're nothing but a common thief. HANS I'm an exceptional thief, Mrs. McClane. And now that I'm moving up to kidnapping, you should be more polite. He SLAPS her. 337 MACHINE FLOOR 337 Karl drives McClane back with a sweeping head kick. Another one. McClane is staggering. He gets in one hard punch and then Karl charges at him. McClane falls backwards, drives his legs upwards, propelling Karl into the air: 338 LOW ANGLE 338 Karl goes into a loop of chain hanging over a turbine, becomes entangled. 339 MCCLANE 339 jumps to his feet, yanks the other end of the chain. 340 KARL 340 is 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? PILOT My kind of town. CUT TO: 343 THE ROOF 343 The door rattles. His back to the CAMERA, Uli goes to the door, OPENS it -- and TWO BULLETS COME OUT HIS BACK. Smoking Baretta in hand, McClane vaults over the body before it has even stopped twitching. As the hostages SQUEAL and SCREAM, McClane snatches up Uli's machine gun, runs out onto the roof. He charges through the crowd, spots Ginny near the edge of the roof. She meets him halfway. MCCLANE Where's Holly -- GINNY The took her -- after they saw the kids on television -- MCCLANE What? God -- He looks off to the choppers. Closer yet. He turns, SHOUTS. MCCLANE Listen to me! All of you, get down to the lower floors -- you're all in danger. HOSTAGE What are you, crazy? We're being rescued! Those helicopters -- MCCLANE -- there won't be sh** for those helicopters to land on, because the whole top of this building is wired with explosives! Now get below -- SECOND HOSTAGE But...we're safe up here -- MCCLANE Safe, my a**! This ain't a helipad, it's a launching pad! And he FIRES over their heads! They SCREAM, head for the door as he hoped! He FIRES again, raking a line across the roof. They really haul a**. MCCLANE GET BELOW! NOW! 344 IN THE WING CHOPPER - MID-AIR 344 A YOUNG FBI AGENT is here with a rifle and a partner. YOUNG FBI (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 HANS (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 gla** here he can catch a glimpse of the hostages coming back into the room! CUT TO: 348 THE ROOF 348 McClane herds the last of the hostages inside, starts for the door himself, when with a ROAR and a CHATTER of rotors, the lead chopper zooms overhead! McClane throws himself down on the ground, looks up as the chopper banks in a tight turn and then from the open side GUNFIRE erupts! Shocked, McClane DIVES out of the way of the bullets that stitch across the door. 349 HOSTAGES - ON LOWER FLOORS (OR IN STAIRWELL) 349 descending, SCREAMING and HOWLING as a chopper SWEEPS past a window on a loop back towards the roof. 350 IN THE CHOPPER 350 Both Johnsons FIRE AWAY BIG JOHNSON Bank and we'll nail him! 351 THE VAULT ROOM 351 Hans whirls towards Kristoff. HANS Blow the roof. Now! KRISTOFF But Karl and Uli are up there -- CAMERA ADJUSTS to show the remote detonator on a table. Hans goes to it. 352 THE ROOF 352 McClane DIVES away from another burst. MCCLANE You a**holes, I'm on your side -- ! They come in on another pa**. Desperate, he looks around, see a fire hose. Makes up his mind. With the chopper LOOMING UP behind him, he slings Uli's weapon, runs to the fire hose, unreels three yards, loops it around his back and under his legs. He looks over the edge, hesitates: MCCLANE f** this... Bullets HIT all around him. He JUMPS: 353 THE VAULT ROOM 353 Hans extends the antenna...HITS the bu*ton. 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 gla** doesn't budge! Wincing as more FLAMING DEBRIS sizzles by, McClane levels the machine gun, KICKS off from the building, SWINGS back ten feet -- reaches the zenith of his arc -- FIRES the gun and sails back in: 360 INSIDE THE BUILDING 360 McClane SMASHES through the shattered gla**, SAILS inside, rolls onto the floor, PLOWING through furniture and decor. Finally he STOPS, catches his breath with relief...rises to one knee: 361 UP ON THE ROOF 361 The fire hose mounting is BLASTED off the roof, SAILS past the CAMERA: 362 OUTSIDE THE BUILDING 362 The hose mechanism tumbles downward! 363 INSIDE 363 McClane is YANKED off his feet, dragged towards the window! 364 THE HOSE WHEEL - OUTSIDE 364 It SLIDES down the side of the building! The hose PLAYS OUT on the edge of the windowsill, dragging McClane towards his d**h! 365 MCCLANE 365 CLAWS at the floor...no help. Inches from the shattered window, he braces his legs against the sill, groans as he fights the weight of the hose and the reel. One foot SLIPS. Only his already wounded foot keeps him indoors. He scrambles to untie his improvised rappeling rig -- gets free just before the hose nozzle CRASHES out and into the great beyond! Winded, strength ebbing, he staggers to his feet -- just in time for: 366 THE ROOF 366 to RECOIL from another staggering explosion! 367 THE HOSTAGES 367 They scream, cry out: 368 IN THE VAULT ROOM 368 As Holly covers her head from falling plaster, the men work like automatons, piling up the bonds. 369 MCCLANE 369 recovers from another AFTERSHOCK, runs up the steps -- is momentarily amazed to HEAR a "ding" from the elevator -- he looks at: 370 THE SHAFT 370 where suddenly the WALL EXPLODES OUTWARD as an ENTIRE ELEVATOR CRASHES THROUGH THE WALL, swinging on its cable like a demolition ball on a crane! 371 BACK TO SCENE 371 McClane runs up the steps as brickwork flies past his head like schrapnel: 372 THE ELEVATOR 372 reaches the apex of its swing, drops down in an arcing turn: 373 WIDE SHOT 373 the elevator CRASHES into the stairs! The section McClane in on SNAPS LOOSE! At the last minute McClane LEAPS towards: 374 THE VAULT FLOOR BALCONY 374 and catches it as stairs and elevator CRUMBLE behind and beneath him! With his last effort, he hauls himself onto the balcony and them moves off! CUT TO: 375 EXT. BUILDING 375 The police are scrambling for cover. Powell and Robinson are open-mouthed. 376 IN THE BASEMENT 376 Argyle is huddled down on the floor of the back seat, the stuffed animal held over his head as much for company as protection. As the building ceases to ROCK Argyle sneaks a peek out from under the fur...and sees: 377 HIS P.O.V. - THEO 377 at the delivery truck. He steps into a white paramedic's jumpsuit and zips it up. He hops into the cab and pulls the truck away from the loading dock. 378 MCCLANE - ON THE VAULT FLOOR 378 He creeps forward, looks carefully into: 379 HIS P.O.V. - VAULT ROOM 379 They're getting ready to leave with the bearer bonds. Suddenly the CAMERA FOCUS CHANGES TO HOLLY. 380 BACK TO SCENE 380 McClane's face shows his anguish. He checks the weapon he took from Uli. One bullet! MCCLANE (under his breath) sh**... He checks his Baretta. One bullet. He thinks, desperate. Decides. He takes the bullet from the rifle clip, adds it to the Baretta clip. He slams the pistol clip back, really worried. Mind racing, he looks all around the room...his eyes fall on a tape dispenser. He thinks again...steps towards it: 380-A IN THE BASEMENT 380-A Theo has pulled two ramps out from the truck and slips into the back. A car engine fires up inside the delivery truck. 381 ARGYLE 381 Realization dawning, he vaults into the front seat. 382 THE GARAGE 382 A paramedic van shoots out of the back of the Pacific Courier delivery truck. Flooring the limo, Argyle CRASHES into the van, which CAREENS into the wall. 383 CLOSER 383 Theo staggers out in time for Argyle to deck him with one punch. ARGYLE (looking around) Where's the camera when you need them? CUT TO: 384 THE VAULT ROOM 384 HANS Let's move. The last of the money is piled on. Hans hangs onto Holly while Eddie pushes the mail carts of moneybags. Kristoff goes to the door to scope their escape...suddenly he is COLD co*kED by a rifle bu*t. 385 WIDER 385 McClane steps into view in the doorway, backlit by sparks still tumbling down from the roof above. He holds the machine gun ready. MCCLANE Hans! Hans turns, not that surprised. Grinning, he yanks Holly into view. No words need be said. HOLLY John! MCCLANE Holly, we have to stop meeting like this. (taking in the vault) So that's what it was. A f**ing robbery. (thinking) So why nuke the building, Hans? 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. HANS (to Eddie) Nein, dies ein ist mein. (to McClane) This time John Wayne does not walk off into the sunset with Grace Kelly. MCCLANE That was Gary Cooper, sh**head... HANS No more jokes, drop it or she gets it between the eyes! MCCLANE (slowly putting down his gun) Whoa, Hans, now you're the cowboy? HANS 'Yippe-ki-yea, mother f**er'? Now you are f**ed. He aims: MCCLANE Holly, now...! Instantly, Holly sidesteps, JABS her elbow into Hans' face! 386 MCCLANE - OVER SHOULDER SHOT 386 At the same moment Holly moves, McClane grabs his Baretta from its hiding place TAPED TO THE BACK OF HIS NECK, SHOOTS Hans high in the chest! The bullet pa**es right THROUGH Hans, and the WINDOW behind him SPLATTERS with blood and SHATTERS. Even while this is happening, McClane SPINS: 387 EDDIE - THROUGH MCCLANE'S WIDESPREAD LEGS 387 Eddie takes a gunshot, DROPS just like on Gunsmoke. 388 BACK TO SCENE 388 Hans drops his weapon, staggers, looks down at his own blood in shock. 389 MCCLANE 389 MCCLANE You were right about us Americans. (he blows smoke from his pistol barrel) We are cowboys. 390 VAULT ROOM - WIDER 390 Incredibly, Hans still stands, eyes filled with shock and disbelief. He REELS, falls against the windowsill, starts to TOPPLE -- and then he GRITS his teeth and from some inward place finds a last reserve of strength and he GRABS: 391 HOLLY'S WRIST 391 and she is YANKED off her feet! 392 BACK TO SCENE 392 Hans goes out the window, pulling Holly with him! McClane LEAPS forward, catches her inside arm near the elbow at the last minute! 393 EXT. BUILDING - LONG SHOT 393 The roof still in flames, McClane hangs halfway out of the window, jagged gla** raking his face, straining to hold onto Holly as Hans drags her out! McClane braces himself against the window frame and strains to pull Holly closer. With a MOAN, she catches the windowsill with her inside hand. McClane STRETCHES with his other hand, begins to INCH towards Holly's wristband. 394 HANS' HAND - WIDEN 394 A d**h grip on the watchband. We WIDEN, SEE that, blood flecked teeth GRITTING, he is STRAINING with his other hand to bring up the gun he is still holding! 395 MCCLANE 395 Holly's SCREAM alerts him. Hans locks eyes with McClane one last time, starts to pull the trigger, as: 396 VERY CLOSE 396 McClane RELEASES the latch on the watchband! The overtaxed metal SNAPS, links flying: 397 WIDER 397 Hans' face registers his horror as he and most of the watch suddenly drop. We LISTEN to his scream all the way down, finally HEAR him HIT. McClane pulls Holly back into the room and holds her. MCCLANE It's okay, babe. It's okay. He looks down at Hans' body, then back at the scrap of wristband he's still holding. MCCLANE You got a warranty on this? She laughs through her tears, holds onto him. DISSOLVE TO: 398 EXT. BUILDING - DAWN 398 Smoke drifts up from what has suddenly become the top floor. Thornburg's remote truck careens into the parking lot. 399 CLOSER 399 A crowd watches as the front doors of the building open. We SEE McClane, who holds up Holly and in turn is supported by SWAT men. As REPORTERS start shouting questions, McClane breaks free of his entourage, and, holding Holly, pushes into the crowd. MCCLANE (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. MCCLANE (emotional) Al. Man, you were my rock. I couldn't have made it without you. POWELL Bullsh**. MCCLANE I'm serious. Hey, this is my wife... Holly Gennero. HOLLY (taking Powell's hand, correcting) Holly McClane. Hearing this, McClane grins, pulls her close. * POWELL (to her) A pleasure. I guess John doesn't need me to give you that message anymore. HOLLY (puzzled) Message? McClane begins to make silent "ixney" gestures in Powell's direction. POWELL 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. ROBINSON I want you for debrief, McClane. You've got some things to answer for -- Ellis' murder -- property damage -- interfering with police * business -- A SCREAM causes McClane to turn. 400 HIS P.O.V. 400 There in the doorway is Karl, clothing and body scorched. Easily as crusted in dirt and blood as McClane, he holds his machine gun. 401 EXT. BUILDING 401 As the crowd panics trying to escape, Karl locks eyes with McClane and levels his gun. McClane throws Holly to the ground and grabs the dumbstruck Robinson's sidearm. But he doesn't get off a shot -- a lone gunshot stops Karl -- knocking him back through the doorway. McClane looks back to see Powell still sighting down the barrel of his .38. His hand is rock steady. He sees McClane's look. POWELL (shrugging) You were right. You couldn't have made it without me. They smile. Suddenly McClane and Holly squint as LIGHTS pan onto them. Thornburg pushes his way forward, mike extended like a weapon. THORNBURG Mr. McClane...Mrs. McClane...any comment on your incredible ordeal? What are your feelings now that it's all over? Without a beat, Holly PUNCHES HIM in the chops. He FALLS, dropping the mike with an electronic SQUEAL. McClane looks at his wife, amazed. Behind them, Thornburg sits on the ground, * nurses his lip, turns to his camerman. THORNBURG (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. ARGYLE (getting in the front) 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