DIE HARD 2
Written by
Doug Richardson
Revisions by
Steven E. de Souza
SHOOTING SCRIPT
November 16, 1989
(X)
DIE HARD 2
WHILE WE'RE IN BLACK we HEAR a PNEUMATIC "KA-CHUNK" and then
MCCLANE'S VOICE
Holy sh*t, whoa, whoa -
FADE IN:
1 EXT. DULLES TERMINAL - DAY 1
JOHN MCCLANE, long topcoat FLAPPING, comes running out of the
terminal towards an AIRPORT COP in plastic covered uniform who is
supervising a TOW TRUCK DRIVER who in turn is manhandling a
sedate sedan with Virginia plates and a "GRANDMOTHER ON BOARD"
sign on the rear window.
MCCLANE
I'm here, I'm here, false alarm, let's
just let her down nice and easy -
COP
Sure. At the impound lot.
(POINTING)
Next time, read the sign.
MCCLANE
You don't understand, I'm just meeting
my wife's-plane - you gotta give me
this car back.
COP
Sure. Tomorrow 8 to four, you pay
40 bucks, we give it back.
MCCLANE
This is my mother in law's car. She
already hates me because I'm not a
DENTIST -
(SHOWING-BADGE)
See, I'm a cop. LAPD. How about
some team spirit?
COP
I was in LA once. Hated it.
CONTINUED
2
(X)
1 CONTINUED -
MCCLANE
(going with the flow)
I can relate to that. Hate it myself-
(turning to tow guy)
Hey, that's a plastic fender, Jesus-
(back to cop)
See, I used to be a New York cop still
got my ID somewhere -I only moved
'cause my wife got promoted - look,
maybe we can settle this right here,
we're in Washington, heartbeat of
Democracy, one hand washes the other
He realizes the truck is DRIVING AWAY one way while the cop is
i going off the other way - McClane votes for the cop -
MCCLANE
Hey, c'mon, it's Christmas -
COP
So Ask Santa to bring you another
car.
I
MCCLANE
(SOTTO)
You son of a -
BEEP drowns out his last word. McClave sweeps aside his coat,
finds the beeper on his belt. He looks at the obviously
unfamilar number on the read out in puzzlement, then runs into
the terminal.
2 INT. DULLES TERMINAL - DAY 2
CHRISTMAS MUSIC wafting through the building from a SCHOOL CHOIR
perched in front of a massive, three-story window. Blase
travelers PAUSE in their hectic rush to applaud the angelic
voices.
McClane shoves his way through some people - when they GLARE at
him he quickly APPLAUDS the kids, pulls up at an INFORMATION
BOOTH - the girl there is watching a LITTLE TV on the shelf out
of sight from the public.
MCCLANE 1ST NEWSCASTER
Telephones? (on TV)
.and that White Christmas
INFORMATION GIRL may be here for a while, if
(pointing) that new storm front moves
Right over there. to the Metro area this
afternoon as predicted.
McClane nods, serves across the slick linoleum.
CONTINUED
3
(X)
2 CONTINUED - 2
1ST NEWSCASTER(cont'd)
Correspondent Leonard Adkins is in
a warmer clime, with a story that
grows hotter by the minute.
2A WITH MCCLANE 2A
he fairly SKIDS to a halt at a line of PHONE BOOTHS - and outside
each booth a long LINE of people with their armfuls of luggage
A
and gifts.
McClane's BEEPER goes off again.
MCCLANE
(DESPONDENT)
Ho - ho - ho...
3 3
thru OMITTED thru
4 4
CUT TO:
EXT. AIRPORT - THROUGH WINDOW - SAME TIME
I
A plane TAKES OFF. We PULL BACK and realize we're in a MOTEL
ROOM. The TV is on and we SEE the TV PICTURE CHANGE to a
TROPICAL AIRFIELD. Khaki-clad heavily armed SOLDIERS form a
cordon as a stiff-backed handsome MAN of 60 in handcuffs and leg
chains is hustled aboard a plane.
2ND NEWSCASTER
Security was tight today at Escalon
airport in the Republic of Val Verde,
where government authorities escorted
General Ramon Esperanza to the
military transport that will bring
him to the United States to stand
trial for narcotics trafficking.
A HAND thrusts in front of the CAMERA - FINGERS clenching and
curling oddly.
6 WIDER 6
A half naked MAN is doing Tai Ch'i EXERCISES. This is COLONEL
WILLIAM STUART, U.S.A. (Ret.) His body is hard, with SCARS from
knives and bullets.
On the TV, the words "FILE TAPE" blink under Esperanza's IMAGE,.
here resplendent in a Latin American uniform, reviewing troops in
the field and then moving to a table under a tarp to sign
documents with American military officers. He hands a COLONEL the
pen just used on the document - a souvenir.
CONTINUED
4
(X)
6 CONTINUED - 6
NEWSCASTER
Only two years ago the controversial
General lead his country's Army in
its campaign against Communists
insurgents - a campaign fought with
American money and advisors.
Esperanza's fall from power caused
1
ripples not only in his country'.s
recent election, but closer to home
I as well...
PICTURE CHANGES to some WASHINGTON STEPS. The AMERICAN COLONEL
we just.saw exits a Federal building with some JUNIOR OFFICERS
and attorneys - avoids reporters.
1
NEWSCASTER(CONT'D)
.when high ranking Pentagon
officials were chargedwith supplying
I him with weapons despite the
congressional ban.
The exercises finished, Stuart FREEZES in an eerie pose, until
7 HIS HUER CHRONOMETER
BEEPS an alarm -
8 BACK TO SCENE 8
The man uncoils. Composes himself. Goes to the closet.
NEWSCASTER(CONT'D)
But mounting evidence that Esperanza's
forces violated the neutrality of
neighboring countries made Congress
withhold funds-funds which Esperanza
I s accused of replacing by going into
the'lucrative business of cocaine
smuggling.
,.One topcoat, one suit there, shirt and tie laid out like a
costume not usually worn. On the shelf above, one PACKAGE in
DISTINCTIVE CHRISTTMAS WRAP.
Stewart puts on the shirt. In the pocket is a PEN - the same pen
we just saw on TV. If we haven't realized it yet, we realize it
now; t s is the same man.91
Suddenly Stuart WHIRLS like a GUNFIGHTER. But all he's got in
his hand is the remote control, snatched from the nightstand.
9 TV 9
CONTINUED
5
(X)
9 CONTINUED - 9
Q
It clicks OFF -
CUT TO:
10 INT. AIRPORT MOTEL - CORRIDOR - DAY 10
CLOSE on the hallway door as Stuart COMES OUT, the package in
i his hand, the Huer ticking away. We WIDEN, TRUCK with him as
he moves down the corridor.
And now we SEE THEM - ten more TALL, HARD men, all coming into
the hallway from their adjoining rooms within seconds of each
other, all carrying SIMILAR GIFT WRAPPED PACKAGES.
They get into two adjoining. elevators, the stark LIGHTS above
their heads and their unmoving expressions making them look like
Aliens ready to beam up. As the doors CLOSE we
CUT TO:
11 INT. TERMINAL - DAY 11
McClane SQUEEZES past an enormous WOMAN exiting a phone booth
with a PRESENT as big as she is. Catching his breath, he drops
his quarter, dials.
12 12
aru OMITTED thru
13 13
CUT TO:
14 INT. A JETLINER - INTERCUT 14
HOLLY MCCLANE is here, AirPhone at her ear and a beautiful
SUNSET over the plane's wing visible through the nearby window.
With the Compaq portable computer, filofax and calculator piled
on it, Holly'.s seat back table looks like a traveling office.
MCCLANE
Hello. This is Lieutenant McClane
- Somebody there beep me?
HOLLY
I'd like to think I'm somebody.
MCCLANE
Holly! Did you land?
HOLLY
John, wake up. It's the nineties.
Microchips, microwaves, faxes and
airphones.
MCCLANE
As far as I'm concerned, progress
peaked with the frozen pizza.
CONTINUED
6
(X)
14 CONTINUED - 14
HOLLY
We're going to land about thirty
minutes late, I wanted you to know.
Kids okay?
MCCLANE
Just speeding on sugar, thanks to
your parents. I really appreciate
you coming a day late, honey. Nothing
I like better than a weekend with
the Munsters.
I
HOLLY
Mom give you any trouble about
borrowing her new car?
J
MCCLANE
(CAREFULLY)
No... not yet. Uh...how 'bout if
when you land, we don't drive over
the river and through the woods to
Grandma's house, but check into the
Airport motel?
HOLLY
You're on, Lieutenant.
They both hang up. The OLDER WOMAN beside Holly smiles at her.
OLDER WOMAN
Isn't technology wonderful?
HOLLY
My husband doesn't think so.
OLDER WOMAN
Well, I do. I used to carry around
those awful mace things -
She opens her purse and displays a Taser stun gun.
OLDER WOMAN(cont'd)
(SHOWING IT)
Now I zap any bastard who screws with
me. I tried it on my little dog,
poor thing, limped for a week.
As Holly tries to smile politely, we
CUT TO:
15 MCCLANE 15
Coming out of the phone booth and almost COLLIDING with -
7
(X)
16 NEW ANGLE 16
Colonel Stuart.
STUART
Excuse me -
Pause as they dance away from each other. Then -
I MCCLANE
--do I know you?
STUART
R (TIGHTLY)
I... get that a lot. I've... been
on TV.
J
MCCLANE
You and me both, pal. The hell with
it.
Now it's Stuart's turn to look at McClane oddly; then he moves
off. McClane looks after him, trying to place him... shrugs...
heads for the bar.
CUT TO:
17 A LITTLE SEMI-RURAL CHURCH - NEAR THE AIRPORT 17
Charming until the SUB WOOFER ROAR of a big jet SCREAMS by,
practically in the little church's backyard.
Now we notice that the church is a little run down - trim needing
paint, sidewalk cracked - and a neat SIGN confirms our
SUSPICIONS:
"FUTURE SITE OF PARISH DAY CARE CENTER.
WORSHIP WITH US AT OUR NEW CHURCH,
52 KENSINGTON ROAD, ALEXANDRIA, VIRGINIA."
A DWP VAN pulls up, snow tires CRUNCHING on the driveway here.
Two MEN (BAKER and THOMPSON) get out in official DWP wardrobe.
But we remember the trim bodies, trimmer hair... and we remember
those gift wrapped packages, - which one of these guys carries.
18 INSIDE THE CHURCH 18
On a TV here, the newscast CONTINUES, now back to the tropical
airport. Esperanza is at the top of the steps, waving to the
press like a triumphant hero - not a felon en route to prison.
The plane doors close and it taxis down the runway.
WIDEN from the set, which an elderly CUSTODIAN is watching while
he eats some instant soup. The DOORBELL RINGS. The custodian
answers it.
CONTINUED
8
(X)
18 CONTINUED - 18
CUSTODIAN NEWSCASTER'
Yes? (on TV)
Although Esperanza was
BAKER removed as Commander in
Sorry to bother you, sir. Chief earlier this year,
We're checking our equipment. the agreement to extradite
Any problems with the conduit him was not reached until
box in your backyard? yesterday - and Washington
insiders say it was a phone
CUSTODIAN call that made it happen -
Gee, I don't know anything a phone call from an
about that. angry American President.
Baker and Thompson glance at each other.
THOMPSON
Would you mind if we take a look?
CUSTODIAN
Help yourself.
18A WIDER 18A
The three men walk down the main aisle of the church. Dust motes
dance in the colored light.
CUSTODIAN
Don't seem right, somehow, closing
a church down. Oh, I know the parish
is gonna keep using it, but it won't
be the same. Been here a lot of
years; and I been right here with
it.
They've arrived at a rear window. FOCUS CHANGE to a green
CONDUIT BOX on the the church's rear lawn, half covered in snow.
FOCUS back through the glass. Thompson looks questioningly at
Baker, who nods.
CUSTODIAN
Yep. I kinda feel a part of me is
dying along with this church.
BAKER
Well, you're right about that.
BLAM BLAM GLAM. BULLETS RIP through the end of the Christmas
package, SLAM the custodian up and into a row of pews, which
OVERTURN.
9
(X)
19 NEW ANGLE 19
{ Baker rips the rest of the smoking package away from his weapon,
s 1i s it over his shoulder and begins to SHOVE the pews aside to
make a larger open area.
Thompson, meanwhile, takes out a very futuristic transceiver.
He turns it ON; getting a RED light; enters a NUMBER CODE on the
keypad and gets a GREEN LIGHT. There's an EERIE QUALITY to the
transmission.
THOMPSON
This is team one. We're here.
1
NEWSCASTER(CONT'D)
This is Leonard Adkins, in Val Verde
- where the war on drugs has finally
taken its first prisoner.
With an annoyed expression, Thompson CLICKS OFF the newscast.
CUT TO:
EXT. AIRPORT - SERVICE AREA - DAY 20
Two PAINTERS pull up in a van. Move around the back and start to
pull out ladders and cans.
FIRST PAINTER
Busting our asses Christmas week like
they're gonna land extra planes if
we finish -
Suddenly two MEN O'REILLY and SH DON) are there.
PAINTER
Need something?
O'REILLY
Yeah.
BAM! BAM! Both painters are SHOT.
Quickly, the two men toss their bodies into the rear, get into
the van... and BACK IT INTO the airport garage.
O'Reilly enters a NUMBER CODE into a transceiver-
ORILLY
into radio, as iffey
DRIVE)
Team Two. In position.
CUT TO:
10
(X)
EXT. SECLUDED VIRGINIA ROAD - DAY 21
a CYCLONE FENCE and a MICROWAVE DOME fenced in with a sign:
"PROPERTY OF THE FEDERAL AVIATION AGENCY. NO TRESPASSING."
_BURKE and KAHN - two more of those CLEAN CUT MEN are here, just
now parking and going to the rear of their rented station wagon.
Quickly, they OPEN the trunk - slide, out a long OLIVE DRAB TUBE
and a TRIPOD.
21A CLOSER 21A
Kahn KICKS spikes on the tripod into the frozen around to anchor
it - TILT UP as a SNAPS the tube ON TOP of it, SWINGS IT
AROUND towards the installation -- when
POLICEMAN'S VOICE
Hey, you!
22 A POLICE CAR 22
Has pulled over across the road. Both OFFICERS get out.
POLICEMAN(CONT'D)
} (co*cking a SHOTGUN)
This is .a restricted area! Mind
telling us what you're doing?
23 ON THE MEN 23
A quick look between them... and then .SWIVELS the-long
FIRING, the two men tube around! With Kahn LOADING and VjMELN
LAUNCH a MISSILE at the police car!
23A THE POLICE CAR 23A
EXPLODES, the two cops halfway out swallowed up in the
DESTRUCTION.
23B BACK TO SCENE 23B
As the cop car BURNS, the two men turn, pivot the weapon back
towards the transmitter. FIRE. The missile trail arcs neatly
over the fence, lands on target -
24 THE TRANSMITTER 24
EXPLODES -
CUT TO:
25 INT. DULLES TOWER - "THE CAB" - DAY 25
The top of the Tower, it's the heart, soul, brain of Dulles.
We HEAR snatches of AIR TRAFFIC CONTROL as the CAMERA PANS the
big room. We SEE PLANES outside, the airport LIGHTS already
on against the grey of the snow. It's damn impressive.
CONTINUED
11
(X)
25 CONTINUED - 25
0' CAMERA SETTLES on TRUDEAU. Chief Air Traffic controller, he's
lived through hijackings, the Olympics, Reagan's mass firings
-and he's still going (heart bypass notwithstanding.) Chief
engineer BARNES is as good as a right ventricle, anyway.
An ALARM RINGS.
26 TRUDEAU 26
lighting a cigarette, he hovers over BARNES.
BARNES
We just lost FAA approach control.
TRUDEAU
Weather may have screwed up the line.
Switch over to our own back up and
run a check.
Barnes hits a switch. The ALARM STOPS. Everyone relaxes.
CUT TO:
27 INT. AIRPORT BAR - NIGHT 27
WIDEN from McClane at the bar, his coat on a stool beside him.
He's on his second scotch. On the BAR TV, we SEE SAMANTHA
("SAM") COPELAND, a reporter with "live" super'd over her body.
She is clearly somewhere inside this airport
SAM
(ON TV)
--here at Dulles, the quiet men from
the Justice Department wait to put
handcuffs on the man who has come
to symbolize the enemy in America's
fight against cocaine... This battle
may be almost won... but the war
is still in doubt. Samantha
Copeland... . WNTW for NightTime News.
CAMERA ADJUSTS to.show a MAN as he OPENS a PHONE BOOTH. It's
very quick, but we REALIZE that while in there he. wasn't using
the phone but one of the transceivers we saw before.
This is MAJOR GARBER, Stuart's second-in-command; but his
efficiency and chilly courage are second to none. CAMERA FOLLOWS
HIM to a TABLE.
C OC HRANE and MILLER - TWO MORE of those neat, trim young men-are
there, in neat_,--Eo'ring topcoats.
CONTINUED
27 CONTINUED - 27
GARBER
That was the Colonel: All perimeter
teams are in place.
(TO COCHRANE)
Weather?
'Cochrane covers one ear and we SEE that he has a RADIO EARPLUG.
other. He listens intently, then GRINS.
' OCH
Flurries all along h e Virginia
Coast... new storm moving in from
the Northeast.
GARBER
(sharing the smile)
God loves the Infantry.
(SMILE GONE)
Carry out your assignment. We'll
regroup at field HQ.
(setting his watch)
Three fifty one... Mark.
They syncronize their watches, and then Mi l1e leaves the bar.
CAMERA PANS HIM out. He walks right past McClane, who doesn't
notice him.
A beat after Mil ergs exit, two AIRPORT COPS in snow-flecked
JACKETS come into the bar. Seeing, them, the bartender is
already pouring coffee for them. But-
28 GARBER AND COCHRANE 28
also see the cops - and very casually, Cochrane ulls the earplug
from his ear. Equally casually, Garber Vs-Wed-If-is- foot to slide
the two long Christmas package at his feet under the table.
29 ON MCCLANE - CAMERA PUSH 29
This gets his attention. His eyes narrow. He looks from the two
or d inary looking men towards the Airport cops, wonders why they
got fidgety. Now he watches
30 GARBER & Q HRANE 30
who looks at his watch, signals Cochrane. Both rise. But as
Cochrane bends to pick up his wrapped package... and as he moves,
something dangles inside his jacket. Is it a holster?
31 MCCLANE 31
turns to watch them exit, sees them SPLIT up outside the bar.
Quickly, McClane goes over to the Airport cops.
CONTINUED
13
(X)
31 CONTINUED - 31
MCCLANE
Excuse me, officers. This may be
a total wild goose chase, but I think
I just saw -
He STOPS. CAMERA ADJUSTS. The cop he's talking to is the
asshole who towed away the car.
1
AIRPORT COP
Saw what?
MCCLANE
Elvis.
McClane turns, throws money near his glass and quickly exits the
bar.
CUT TO:
32 INT. TERMINAL - WITH THE MEDIA 32
trying to get the half dozen UNIFORMED US MARSHALS or the three
JUSTICE DEPARTMENT LAWYERS to talk to them - without success.
But one reporter - Sam - NOTICES -
33 STUART - MOVING THROUGH AIRPORT -HER POV' 33
I as she watches, Garber joins him -
34 BACK TO SCENE 34
SAM
(nudging her cameraman)
Hey. Colonel Stuart.
CAMERAMAN
Old news.
SAM
Better than these loxes.
Very quietly, Sam and the cameraman do their best to slip away
from the pack.
35 STUART AND GARBER - WALKING ALONG TOWARDS EXIT 35
STUART
(SOTTO)
Everything on schedule?
GARBER
Tapping airport phones right now.
Got a slight problem with personnel:
Last minute replacement. What's the
status of the security here?
I
CONTINUED
14
(X)
35 CONTINUED - 35
STUART
(nodding towards the
JUSTICE PEOPLE)
Like we figured. A joke -
But suddenly both men are in the GLARE of a portable light.
SAM
Colonel Stuart! Can we have a few
words with you?
I
STUART
You can have two: "f*ck" and "you".
And the interview is over and he's out the door.
CUT TO:
36 INT. TERMINAL - ESCALATORS - NIGHT 36
McClane's head panning the holiday crowd - then SEEING Cochrane.
Quickly, he FOLLOWS Cochrane downwards - into
37 LUGGAGE AREA 37
where a TOURIST JUNKET gets between McClane and his quarry-
38 C9CC $ANE 38
a GLIMPSE of him at a door marked "NO ADMITTANCE" - then he's
gone. McClane runs up, too late; the door is shut again.
He looks around, sees a LUGGAGE WORKER, flashes his badge.
MCCLANE
Open this.
(as the guy obeys)
Got a cop on duty around here?
LUGGAGE GUY
Airport police -
MCCLANE
(SCOWLS; THEN;)
Get 'em.
39 INT. LUGGAGE CONVEYOR AREA - DAY 39
Dark. Clatters and bumps, machine sounds... more bumps. McClane
moves cautiously along. He JUMPS as a large SHADOW moves
nearby, but it's a big CASE on a conveyor belt.
Now, he stoops to go under another conveyor belt - the different
tracks intersect and pass each other like freeway off-ramps
discharging luggage from one to another - and then he SEES -
4.
15
(X)
39A COCHRANE AND MILLER 39A
I
One has his jacket off, and just now dusts off his hands like
a man finishing a job.
The other one has one of those transceivers.
MCCLANE'S VOICE
Excuse me.
41 NEW ANGLE 41
They turn, see McClane with his badge in his left hand - his
right hidden under the long coat which is draped over his
shoulder like Clint Eastwood's serape in a Spaghetti Western.
MCCLANE(CONT'D)
This is a restricted area. You boys
too impatient to wait for the skycaps?
MILLER
We... work for th amine.
MCCLAN.E
Yeah? Let's see some ID -
Instantly both men DIVE to the outside, drawing guns.
42 THE TRANSCEIVER 42
Falls, skids... somewhere.
43 BACK TO SCENE 43
Dropping his'wallet, McClane JUMPS aside as SHOTS WHIZZ PAST
-McClane's COAT takes the BULLET HITS in MID AIR as he LANDS
on a conveyor belt, which CARRIES him UP and OVER the gunmen.
They FIRE UP at him - He aims.back - and then a SUITCASE falling
from another belt and knocks his gun away!
44 BELOW 44
The gun CLATTERS on the floor. Seeing it, the two men exchange a
glance - split up.
45 MCCLANE 45
Drops from the belt, crouches near big gears. Desperate, he
looks around for a weapon, anything. Then he notices all the
luggage going past: Suitcases, camera cases, a bicycle... Skis.
46 MILLER 46
Moving forward expertly, gun ready. WHAP! A SKI POLE smacks
down on his wrist! The gun DROPS onto a conveyor belt, FIRES -
then moves away, obscured by moving luggage.
CONTINUED
16
(X)
46 CONTINUED - 46
J McClane steps in, punches Miller - gets HIT hard himself -both
ROLL OVER onto the new belt.
47 COCHRANE 47
Hearing the SHOT, he tries to pinpoint the location - but with
all the echoes - it's hard.
S
48 MCCLANE AND MIL 48
Fighting hand to hand. Miller starts pressing the ski pole
against McClane's throat:-Pt=lane tries to do the same thine
back - they spin, SMASH into a pile of suitcases, some of which
SPILL OPEN.
M J er gets in a powerful punch, gets free - CAMERA FOLLOWS
Miller as his hand gropes for the pistol.- and then McClane
rIT into view with f*cking HAIRSPRAY right in the guy's eyes!
Miller HOWLS, blinded - but then - BLAM! A BULLET EXPLODES
tcan in McClane's hand!
49 NEW ANGLE 49
Cochrane is there! McClane LEAPS like Tarzan to the BOTTOM of
the i , empty "return" belt - the momentum swings him right
towards Cochrane, who FIRES once more before McClane's KICK
nearly toc e stf'his head - he loses the gun, but Jesus, these
guys are tough and now Cochrane LEAPS UP and grabs McClane's
belt and clothes and they're both hanging -suddenly they're both
too damn high to get off!
50 MCCLANE 50
Half on the belt, half off, he fends off the other man and SEES-
51 UP AHEAD 51
The belt goes through a hatchway - a hatchway with virtually no
clearance.
52 BACK TO SCENE 52
McClane PUNCHES Cochrane - again, again - but the guy's gonna
kill them both one way or the other - McClane KICKS him, again,
again - finally his grip loosens - at the last minute McClane
JUMPS to a thick conduit - and then Cochrane gets JAMMED
53 INTO THE HATCH HEADFIRST. 53
54 NEW ANGLE - 20 FEET UP 54
The conduit BREAKS FREE from its molly bolts, but doesn't drop
-and three feet away the guy SCREAMS and then his neck SNAPS and
his body TWITCHES AND JERKS and the machinery JAMS, smoking-
17
55 MCCLANE 55
WINCES as blood SPLATTERS - and then REACTS as the 20 foot tall
conduit pipe CREAKS, BENDS-TOPPLES- he RIDES IT DOWN-
CUT TO:
56 INT. LUGGAGE CONVEYOR AREA - NEAR ENTRANCE 56
led bjthe luggage guy, two AIRPORT COPS run in -
57 LLERÏ¿½ 57
panting for breath, rubbing his eyes, he sees their approach,
starts to run. He races down a long aisle past cartons of
freight... starts to smile - there's a door just ahead - he's
gonna make it -he's gonna make it - suddenly a CHING CHING SOUND
makes him turn -it's the CHING CHING OF -
58 A BICYCLE 58
- with John McClane on the back. McClane dives out of the saddle
like the Lone Ranger, takes Miller down. (X)
59 ON THE FLOOR 59
As the bicycle FLIPS OVER, McClane gets to his feet first and
finds a gun in his face -
2ND AIRPORT POLICEMAN (X)
FREEZE!
And in that instant (you guessed it): (Miller_F)SCAPES. (X)
MCCLANE
(SIGHING)
Brilliant, asshole. I'm a cop -that
was the bad guy! '(X)
2ND AIRPORT POLICEMAN (X)
(UNIMPRESSED)
Yeah? Where's your I.D.?
McClane.starts to reach into his jacket - remembers. He looks
around the huge room and its clanking conveyor belts.
MCCLANE
Cleveland?
CUT TO:
60 INT. HOLLY'S PLANE - IN FLIGHT 60
Holly's working away on her laptop computer when: (X)
CONTINUED
P-
18
60 CONTINUED - 60
THORNBERG'S VOICE
- no, you did not explain anything
- all you did was shove me a- -here
in this cattle car -
STEWARDESS' VOICE
- Sir, you were told when you boarded
that we were overbooked -
Holly looks up idlely - and then REACTS as she sees -
61 DICK THORNBERG - HER POV 61
Her nemesis from 20 months ago, here waving, his ticket and
fending off the Stewardess' friendly hands.
THORNBERG
Fine. Done, I accept it. But why
the hell can't I get the First Class
Meal--my-Network paid for instead of
this swill?
STEWARDESS
I'm sorry, sir, I can't do that now
- If you'll just sit down - ?
THORNBERG
Do youknow who I am?
STEWARDESS
Yes. We've all seen your program.
Your episode "Flying junkyards" was
a very objective look at air safety.
2ND STEWARDESS
It wasn't nearly.as edifying as
"Bimbos of the Sky", was it, Connie?
THORNBERG
You think you're funny?
(looking at,her nametag)
'I've got your number
2ND STEWARDESS
(pushing him in seat) (X)
And I've got yours - so park it, pal!
62 NEW ANGLE 62
Thornberg simmers - and then he SEES HOLLY. FOCUS CHANGE.
THORNBERG
Stewardess!
CONTINUED
19
62 CONTINUED - 62
STEWARDESS
Mister Thornberg - you cannot
monopolize my -
THORNBERG
You cannot put me near that woman.
STEWARDESS
Excuse me?
CAMERA ADJUSTS to feature Holly - and the Stewardess' growing
fascination with her.
HOLLY
He.means he has filed a restraining
order against me. I'm not allowed
within fifty feet of him -
THORNBERG
FIFTY YARDS
- (to Stew ardess)
And by seating me here you're
violating a court order - I could
sue you and this airline - this woman
has assaulted me and besmirched my
REPUTATION -
STEWARDESS
(kneeling, sotto)?
What'd you do?
HOLLY
I knocked out two of his teeth.
STEWARDESS
(PAUSE)
Would you like some champagne?
CUT TO:
63 THE GUNMAN'S BODY 63
as it is ZIPPED into a body bag, our view of the mangled head and
shoulders mercifully brief. The body is set on a gurney. We
WIDEN and see Airport police and coroner's people about to make
off with it... and the MEDIA, now drooling over this new story
dropped right into their laps. As FLASHBULBS POP and CAMERAS
ROLL, Sam NOTICES -
64 MCCLANE 64
One of the cops hands McClane his wallet. As he pockets it,
he notes the CROWD milling about the luggage area.
CONTINUED
20
(X)
-,� 64 CONTINUED - 64
MCCLANE
Whoa, wait a second. This is a crime
scene. Aren't you going to seal off
this area?
2ND AIRPORT COP
That's up to the Captain.
MCCLANE
Up to the Captain? Take me up to
the Captain, too.
CUT TO:
65 INT. VIRGINIA CHURCH - DAY 65
BAKER guards the rear door with an ASSAULT RIFLE. He REACTS,
tense as a FIGURE appears, running up from the snowy expanse
behind the church. It's 'filer- the man who escaped from
McClane. Baker waves him in.
KAHN and B� are DIGGING in theme y rd with pickaxes and hardly
0o at him. �
66 INSIDE 66
Stuart's poring over MAPS of the airport. He looks up,
nonplussed; wipes away SNOW that falls from Mi� 1 's shoulder to
the table top.
STUART
You're late.
MILLER
We ran into trouble; a policeman.
He killed Cochrane; I barely got
away.
STUART
Did you finish your assignment?
MILLER
Yessir. But -
STUART
Then the damage is minor.
(drawing a PISTOL)
But the penalty could be severe.
In a blur of motion, Stuart is on his feet, the pistol is at
Miller's temple. CLICK.
CONTINUED
21
66 CONTINUED - 66
STUART(CONT'D)
(as Mil a SHUDDERS)
Fail me again and it won't be an empty
chamber. Dismissed.
CUT TO:
67 INT. AIRPORT POLICE OFFICE--DAY 67
McClane comes in, first double taking the name on the door:
CARMINE LORENZO, CAPTAIN OF AIRPORT POLICE.
The man himself - a 20 year veteran of bureaucratic wars that
have earned him this little kingdom - rises behind his desk.
LORENZO
YOU -
(a glance at a FAX)
McClane?
MCCLANE
Lorenzo?
LORENZO
Captain Lorenzo.
MCCLANE
(SHOWING BADGE)
I'm the one who -
LORENZO
Yeah, I know. You think that LA
badge is gonna get you a free lunch (X)
or something down here?
MCCLANE
No. Just a little professional
courtesy.
LORENZO
In an airport Christmas week? You
gotta be kidding.
MCCLANE
Okay. Forget the courtesy. How about
lust the professional? Your boys
dust walked away from a crime scene
- you need to seal it off, get a
forensics team in, dust it, shoot
IT-
LORENZO
And what do we do with all the luggage
for all the airplanes while we play
Charlie Chan?
CONTINUED
22
67 CONTINUED - 67
MCCLANE
You store them somewhere -
LORENZO
Oh. And meanwhile every hour a few
more thousand people come and they
want to put their luggage on
airplanes, so we store them and their
luggage in some other "somewhere"?
Hell, why don't we shut down the whole
f*cking airport? Whaddya think they'll
say upstairs when I tell them that?
MCCLANE'
Why don't you try it and find out?
F LORENZO
Because I don't need a forensics
investigation to file away some punk
stealing luggage -
MCCLANE
Luggage? That "punk" pulled a Glock
Seven on me. Know what that is?
A porcelain gun from Germany. It
doesn't show up on airport x-ray
machines... and it costs more than
you earn in a month.
LORENZO
You'd be surprised what I earn in
a month.
MCCLANE
If it's more than a dollar eighty
nine, yeah -
LORENZO
(SHARP)
McClane, don't start believing your
.own press.
(on McClane's look,
waving the FAX) (X)
Yeah, I know who you are, that
Nakatomi thing in LA. Just 'cause
the TV thought you were hot sh*t don't
make it so. This time you're in my
little pond, and I'm the big fish
that runs it. Now you capped some
lowlife, fine. I'll send your f*cking
Captain in L.A. a f*cking
commendation.
He hits a BUZZER. Immediately two burly AIRPORT COPS appear in
the doorway.
CONTINUED
23
F� 67 CONTINUED - (2) 67
LORENZO
Now get the hell out of my office
before I have you thrown out of my
airport!
McClane moves towards the door, his hands waving off the would be
bouncers.
MCCLANE
(turning at the door)
One question, Carmine: Which sets
off the metal detectors first: The
sh*t in your brains, or the lead in
your ass?
68 EXT. AIRPORT POLICE OFFICE - DAY 68
McClane comes out of Lorenzo's office, steaming. He walks down
the corridor - looks back at one of the stocky Airport cops
-fakes a smile - when the guy turns away McClane punches the
wall.
Then a CLATTER announces the PASSAGE of the morgue guys, the BODY
on their gurney. McClane moves aside, watches them, thinking...
getting an idea.
CUT TO:
69 A RENT A CAR DESK 69
the girl here lost in a romance novel-
MCCLANE
Excuse me.
He reaches over, gently takes typing paper and a stamp pad.
GIRL
(TOO LATE)
Hey!
70 PARKING GARAGE 70
McClane catches up to the morgue guys as they reach their wagon.
MCCLANE
Whoa, guys.
(ver quickly showing
HIS BADGE)
Gotta check something.
Before they can react, he's UNZIPPED the bag, yanked out the
guy's right hand.
CONTINUED
24
CONTINUED - 70
MORGUE WORKER
What're you doing?
MCCLANE
(inking the guy's fingers)
Didn't you ever have an airport stiff
I
before? We need an FAA ID on your
DOA.
He presses the fingers against the paper, checks them. (The hand
he's released remains straight up.)
MCCLANE
Yup, he's dead,. all right. Thanks.
And he's gone as they look after him, puzzled.
CUT TO:
I
71 EXT. VAL VERDE MILITARY TRANSPORT - IN FLIGHT - NIGHT 71
cruising along, its FIGHTER ESCORT a few wingtips away. Now, the
fighter WAGS ITS WINGS and PEELS AWAY.
72 INT. MILITARY TRANSPORT - NIGHT 72
CAMERA MOVES from the co*ckpit back through the rest of the plane.
CO-PILOT
Ay, Alle va nos escorto.
PILOT
Es bueno; el peligro es pasado.
Estamos segur hasta los Estados
Unidos. Cuanto tiempo?
CO-PILOT
(CHECKING WATCH)
Tres horas y media.
By now we are on Esperanza. Looking astonishingly carefree, (X)
he smiles at the young CORPORAL guarding him, puffs on a cigar... (X)
and casually examines the military chronometer on his handcuffed (X)
wrist. We PUSH IN on it. (X)
CUT TO:
73 INT. VIRGINIA CHURCH 73
WIDEN from Stuart's Huer, showing the exact same time. Now we
SEE that the church is full of ELECTRONIC EQUIPMENT: In fact,
it looks very much like a mini-version of an airport control
tower, complete with radar screens and a big glass board to mark
positions on.
CONTINUED
25
(X)
CONTINUED - 73
CAMERA follows a MAN with a Pizza sized RADAR DISH as he crosses
the room, a CRONY unrolling WIRE behind him.
CRANE UP as the man CLIMBS into the STEEPLE... UP, UP, UP, until
he's in the BELFRY where a PRERIGGED TRIPOD WAITS for the dish.
As he CLAMPS it in place we SEE the yard behind the church and
the SPARKLE of WELDING TOOLS; someone is making CONNECTIONS
to the now open conduit box and underground CABLES.
CUT TO:
74 INT. TERMINAL - RENT A CAR COUNTER 74
MCCLANE
Excuse me, honey - can I borrow your
office for a minute?
Before she can answer, he's over the counter and reaching for her
phone.
CUT TO:
75 INT. LAPD OFFICE - NIGHT 75
The office he's in shows us that AL POWELL has moved up in the
world - and Twinkies have move up along with him.
POWELL
(swallowing, answering
PHONE)
Records. Sgt. Powell -
76 MCCLANE - AT RENT A CAR COUNTER - INTERCUT 76
MCCLANE
Hey, partner. Get that twinky out
of your mouth and grab a pencil.
POWELL
(LAUGHING)
John, how you doing? How's the
vacaction treating you?
MCCLANE
Vacation? Holly stood me up for a
last minute meeting. I'm alone in
DC with the in-laws.
POWELL
Ah, the in-laws. They love their
policemen son-in-laws, don't they?
CONTINUED
26
(X)
76 CONTINUED - 76
MCCLANE
R' ht. Listen, Al, what's our FAX
n u mber in the station there?
POWELL
550-3212. This is a first.
MCCLANE
Yeah, well my wife's company makes
'em, I figure it's time to get one
of them pregnant.
(aside to girl)
This way?
(AH)
This way.
The FAX starts to leave McClane - voila, it's already arriving at
Powell's office.
POWELL
(as it arrives)
Fingerprints?
MCCLANE
From a stiff down here at Dulles.
I marked the whorls with a pen in
case the transmission's fuzzy. Can
you run that through State and Federal
for me - throw in Interpol if you
got it.
POWELL
(WATCHING IT)
Will do. What's this about?
MCCLANE
I don't know. Just a feeling.
POWELL
Ouch. You get those feelings
insurance companies start to go
bankrupt.
MCCLANE
The FAX number is uh -
GIRL
-on the top edge of the transmission
he just got -
MCCLANE
(AUTHORATIVELY)
-on the top edge of your transmission.
CONTINUED
27
(X)
76 CONTINUED - (2) 76
POWELL
Airport, huh? You're not pissing
in somebody's little pool, are you?
MCCLANE
(GRINNING)
Break out the chlorine.
CUT TO:
77 INT. HOLLY'S PLANE 77
The nice stewardess comes over to Holly, takes her glass.
STEWARDESS
Need another?
HOLLY
I don't think so.
(INDICATING THORNBERG)
I only have to look at his face for
fifteen more minutes.
CAPTAIN'S VOICE
(OVER PA)
Ladies and Gentlemen, I've just been
informed by Dulles traffic control
that a new weather front is moving
in ahead of us. We may be up here
for a little while longer...
GROANS. COMPLAINTS. Holly holds out her glass.
HOLLY
Yes. Another.
CUT TO:
78 INT. RENT ACAR BOOTH 78
McClane paces, smoking. RRING. Both the FAX machine and the
telephone light up. McClane beats her to it.
MCCLANE
Al?
79 POWELL - IN HIS OFFICE - INTERCUT 79
POWELL
Right here, partner. Your stiff's
dossier is coming through right now.
MCCLANE
What can you tell me?
CONTINUED
79 CONTINUED - 79
POWELL
He's dead.
MCCLANE
You needed a computer for that?
POWELL
No, you don't follow me. According
to the Department of Defense, he's
been dead for 2 years.
MCCLANE
What?
POWELL
Yup. S/Sgt. Oswald Cochrane.
American advisor in Honduras, killed
in helicopter accident 5/11/88.
(reading the page)
Read between the lines of his military
record and it looks like a lot of
black bag stuff.
MCCLANE
Yeah, I see it. Thanks a lot, Al.
I owe you.
He hangs up. The girl gives him the eye.
GIRL
Say, I close in an hour... maybe we
could...
MCCLANE
(showing his wedding ring)
Just the FAX,, ma'am. Just the FAX.
80 EXT. RENT A CAR AREA 80
McClane comes out, deep in thought - gets on an walkway.
Suddenly the CLICK of HEELS makes him turn.
Sam Coleman is trotting down the linoleum next to the walkway,
trying to keep up with him.
SAM
The Ghost of Christmas Past.
Nakatomi? LA? You're John McClane,
right?
MCCLANE
Depends who you are.
CONTINUED
29
(X)
80 CONTINUED - 80
SAM
Sam Coleman, WADC news -
(as McClane REACTS)
Hey, I know how you feel about the
media, but we're not all like that
putz Thornberg - he crossed the line.
That's why they canned him out in
LA.
MCCLANE
Yeah. Now he's on the Network
interviewing Transsexual Gum Surgeons
and laughing all the way to the bank.
SAM
Okay. The guy makes Geraldo look
like Walter Chronkite. Doesn't mean
you can't cut me some slack. I saw
the stiff. Word is that was your
handiwork.
MCCLANE
Nah. I do needlepoint.
And he's at the end of the walkway and he quickly disappears
into the crowd, leaving Sam pissed, puzzled... and out of
breath.
81 INT. "THE CAB" - NIGHT 81
Lorenzo has joined the regulars here to cover his ass
LORENZO
-well, the press was here, crawling
all over the Esperanza story... so
they got it right on the f*cking news,
bloodstains and all...
TRUDEAU
Couldn't be helped, I guess. What
was it, gangs?
MCCLANE'S VOICE
Yeah... if your gangs get their
training at Fort Bragg.
82 NEW ANGLE 82
Surprised, they turn to see McClane step out of the elevator.
TRUDEAU
Who the hell is this?
CONTINUED
30
(X)
82 CONTINUED - 82
MCCLANE
(pushing past Lorenzo)
I'm a police officer, Mr. Trudeau-
LORENZO
L.A., Mr. Lorenzo-don't mean sh*t-
TRUDEAU
That's what I said about my last
cholesterol test. What's your problem-
(READING BADGE)
Lieutenant McClane?
MCCLANE
I think something serious is going
to happen here tonight -
TRUDEAU
Hey. Something serious happens every
night, only it doesn't make the
newspapers. Ever see those guys
on TV, juggling knives and cha n
i saws? That's what we're doing with
those planes up there, only we do
it one handed 'cause the other hand's
playing 3 card monte with the planes
on the ground.
MCCLANE
Anybody try and fix the deck tonight?
(on his look)
Anything weird going on besides the
shooting?
BARNES
We did. lose FAA approach control-
MCCLANE
What's that?
TRUDEAU
One way we manage the planes. But
we've got backup -
Long look from McClane.
CUT TO:
83 EXT. VIRGINIA CHURCH - BACK YARD 83
Burke turns off his acetyline torch, flips up his face shield.
BURKE
We're hot!
31
(X)
84 INT. VIRGINIA CHURCH 84
STUART
(TO GARBER)
Light it up.
Signal is given. Switches are thrown. CAMERA PANS OVER-and
UP to the CHOIR LOFT, which is electronic heaven. EVERYTHING
COMES ON LINE.
STUART
5 minutes to zero hour. Stand by.
85 INT. CAB - NIGHT 85
MCCLANE
Okay. You clot back-up - back-up
for everything you think can go wrong.
What about something nobody
anticipated? Not accidents, not
WEATHER -
F
TRUDEAU
(a bit dryly)
The human element..?
MCCLANE
Damned straight the human element.
You've got the world's biggest drug
dealer on the way, one body and a'-
lot of questionsl Doesn't anyone
want to look for answers?
TRUDEAU
(after a moment)
Lorenzo. Have all your shift
Commanders report in... now.
LORENZO
What? You're buying into this -
TRUDEAU
I want them to report anything out
of the ordinary --no matter how
trivial. You got that?
LORENZO
(annoyed, but obeying)
I got it.
BARNES
Oh, my God...
Everyone turns at the chill in Barne's voice.
TRUDEAU
What is it?
CONTINUED
32
85 CONTINUED - 85
But Barnes doesn't reply... just tries - and fails - to point out
the window. Everyone turns. (X)
86 REVERSE ANGLE - OVER THEIR SHOULDERS 86
Slowly, without any fuss, and with a pattern of sorts that would
be pretty if the impact wasn't so frightening... slowly, ALL THE
RUNWAY LIGHTS ARE GOING OUT.
MCCLANE
Jesus...
87 INT. VIRGINIA CHURCH - SAME TIME 87
As Stuart's TECH throws more and more SWITCHES -
88 THE CAB 88
- and more and more runways go DARK.
TRUDEAU
Go to emegency lighting... now! (X)
BARNES
Emergencies! Controllers, Code (X)
Yellow!
People leap into action... meanwhile, Trudeau and the others MOVE
around the tower, the CAMERA FOLLOWING in a 180 TURN, watch as
the LIGHTS KEEP GOING OUT.
T
