Die Hard (1988)
      
Directed by John McTiernan
      
Written by Jeb Stuart and Steven E. De Souza
Based on the novel "Nothing Lasts Forever" by Roderick Thorp

   
Bruce Willis ....................... Det. John McClane
Bonnie Bedelia ................. Holly Gennero McClane
Reginald VelJohnson ................... Sgt. Al Powell
Paul Gleason ...................... Dwayne T. Robinson
De'voreaux White .............................. Argyle
William Atherton ........................... Thornburg
Hart Bochner ................................... Ellis
James Shigeta ................................. Takagi
Alan Rickman ............................. Hans Gruber
   
          
                              "DIE HARD"

     405 FREEWAY - LOS ANGELES - EARLY EVENING

     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.

     INT. 747 - PASSENGERS - SAME

     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.

     ON JOHN MCCLANE 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.

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

                           SALESMAN
                    (smiling)
               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.

                           MCCLANE
               Fists with your toes.

                           SALESMAN
               Maybe it's not a fist when it's your 
               toes...I mean like this...work out 
               that time zone tension.
                    (demonstrating)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 2


     McClane does this, but as he opens the door above, the 
     businessman BLANCHES seeing:

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

     Peeking out from his jacket.

     BACK TO SCENE  

     Recognizing the look, McClane smiles reassuringly.

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

     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,

     COLLIDING WITH:

     A PRETTY STEWARDESS

     She bumps noses with the bear, gives a look.

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

                           MCCLANE
               Her?

     He scrutinizes the nether regions of the bear, shrugs.

                           MCCLANE (CONT'D)
               She doesn't complain.

                           STEWARDESS
                    (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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 3


     INT. THE NAKATOMI BUILDING (LOS ANGELES) - EVENING

     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.

                           TAKAGI
               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.

                           ELLIS
               What about dinner?

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

     She turns into:

     HER OFFICE

     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.

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

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

                           HOLLY
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 4


                           GINNY
                    (grateful)
               Thanks Ms. Gennaro.
                    (worried)
               Do you think the baby can handle a 
               little sip?

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

                           ELLIS
                    (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:

     INTERCUT:

     INT. NICE HOUSE IN SANTA MONICA

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

                           LUCY
               McClane residence.  Lucy McClane 
               speaking.

     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.

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

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

                           LUCY
               Mommy!  When are you coming home?!

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

                           LUCY
               Will you come say 'good night'?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 5


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

                           LUCY
                    (caught)
               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!

                           HOLLY
                    (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.

                           PAULINA
               Hello, Mrs. Holly.  You coming home 
               soon?

                           HOLLY
               I'm working on it.
                    (beat)
               Did Mr. McClane call?*

                           PAULINA
               No ma'am.

     Holly hides a trace of disappointment.

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

                           PAULINA
                    (smiling)
               Yes, Mrs. Holly.  I do that already.

     Holly's smile comes through again.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 6


     INT. LAX - EVENING

     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.

                           MCCLANE
                    (sotto, to himself)
               California.

     He looks around the terminal at:

     HIS P.O.V. - TERMINAL 

     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.

     BACK TO SCENE

     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.

                           MCCLANE (CONT'D)
               I'm John McClane.

                           ARGYLE
                    (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.

                           MCCLANE
               Argyle.  Don't you take this stuff?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 7


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

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

                                                          CUT TO:

     WITH THE LIMO - DUSK

     TILT UP from the Lincoln emblem on the car.  Both Argyle and 
     McClane are in the front seat.

                           ARGYLE
               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.

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

                           MCCLANE
               Married.

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

                           ARGYLE
               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?

                           MCCLANE
               The past six months.

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

                           MCCLANE
               You're nosey, you know that, Argyle?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 8


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

                           MCCLANE
                    (amused)
               It's okay, it's okay.

                           ARGYLE
                    (instantly)
               So, you divorced or what?

     McClane gives up.

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

                           ARGYLE
               But meant her moving here.

                           MCCLANE
               Closer to Japan.  You're fast.

                           ARGYLE
               So, why didn't you come?

                           MCCLANE
               '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.

                           ARGYLE
                    (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 
               pack?

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

                           MCCLANE
               Like I said, Argyle...you're fast.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                             p. 9


     A hard RAP SONG blasts from the speakers.

                           MCCLANE
               How 'bout some Christmas music?

                           ARGYLE
               That is Christmas music.

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

     HIS P.O.V.

     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"...it is clear that Christmas L.A. style 
     has its own unique style.

     THE LIMO - CENTURY CITY

     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.

     EXT. NAKATOMI BUILDING - NIGHT

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

                           ARGYLE
               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?

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

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

                           MCCLANE
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 10


                           ARGYLE
               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.

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

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

     McClane grins, heads inside.

     INT. NAKATOMI LOBBY - NIGHT

     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.

                           MCCLANE
               Holly McClane?

     The Guard points to a prominent touch screen computer console.

                           GUARD
               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.

     SCREEN - CLOSER

     McClane types, "McClane, Holly".  Pause.  The screen replies, 
     NO SUCH EMPLOYEE LISTED.

     MCCLANE

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 11


     THE SCREEN  

     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.*

     BACK TO SCENE

                           MCCLANE
               Cute toy.

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

                           MCCLANE
               Thirtieth floor...*

                           GUARD
                    (pointing)
               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:

     ANOTHER SECURITY GUARD

     Patrolling a different area.

     SEVERAL HI-TECH CAMERAS AND SENSORS

     which are cleverly worked into the decor of the lobby.

     BACK TO SCENE

     McClane reacts with bored professionalism, NODS to the guard.

                           MCCLANE
               Lots of hardware...

     The guard shrugs.  McClane gets in the elevator.

     INT. ELEVATOR - NIGHT

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

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 12


     30TH FLOOR - SAME

     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 him.

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

                           MCCLANE
                    (to himself, shaking 
                    his head)
               California...

     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:

     TAKAGI

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

                           MCCLANE (CONT'D)
               Excuse me, I'm looking for --

                           TAKAGI
               Holly Gennero?

                           MCCLANE
               Yeah.  How'd you know?

                           TAKAGI
               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.

                           MCCLANE
               So I've heard.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 13


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

     HOLLY'S OFFICE

     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.

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

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

                           MCCLANE
                    (shaking hands with 
                    Ellis)
               That explains the recent deal with 
               Bolivia.

     Ellis REACTS, runs a checking finger under his nose.

                           MCCLANE (CONT'D)
                    (sotto)
               Relax, Ellis.  I'm off duty.

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 14


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

     McClane laughs.  He likes this guy.

                           ELLIS
               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.

                           HOLLY
               All set, Joe.  The contracts went 
               over the wire, and --
                    (surprised)
               John...!

     MCCLANE AND HOLLY

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

                           HOLLY
                    (recovering)
               I was hoping you made that flight.

                           JOHN
                    (quietly)
               I was hoping you were hoping that.

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

                           TAKAGI
                    (to McClane)
               You wife's made for this business.

     She know how to drive a hard bargain.

                           MCCLANE
               Yeah.  I remember our first date.

                           ELLIS
               Show him the watch.

     AS SHE HESITATES:

                           ELLIS (CONT'D)
               Go on, show him.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 15


                           ELLIS (CONT'D)
               What're you, embarrassed?
                    (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.

                           MCCLANE
               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?

                           HOLLY
                    (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:

     EXT. NAKATOMI - NIGHT

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

     INT. PARKING GARAGE

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

     INT. LIMO - SAME

     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.

     INT. PARKING GARAGE - SAME

     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.

     INT. ELLIS' OFFICE - NIGHT

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 16


                           MCCLANE
                    (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.

                           HOLLY
               What are you doing?

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

                           HOLLY
               That's okay...
                    (pause)
               ... I have an eye on his private 
               bathroom.

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

                           HOLLY (CONT'D)
               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.

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

                           HOLLY
               Oh...Where does he live?

                           MCCLANE
               Ramona...no, Pomona, that's it.

                           HOLLY
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 17


                           MCCLANE
               They would, huh?

                           HOLLY
                    (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.

                           HOLLY (CONT'D)
               ...I've missed you.

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

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

                           MCCLANE
               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...

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

                           MCCLANE
               No matter what it did to our marriage-?

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 18


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

                           HOLLY
               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.
                    (quietly)
               I needed that, John.
                    (Pause)
               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.

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

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

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

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

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

                           MCCLANE
               Don't I always?

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 19


                           MCCLANE (CONT'D)
                    (to himself)
               Schmuck!

     INT. BUILDING LOBBY - SAME TIME

     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)
                    (animatedly)
               ...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.

                           THEO
                    (dryly)
               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.

                           THEO (CONT'D)
               We're in.

     ON THE SCREEN

     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.

     INT. ELLIS' OFFICE - NIGHT

     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 gave him.  A photo of his children 
     stops him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 20


     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.

     INT. BUILDING OPERATIONS CONTROL ROOM

     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:

     THE HEAVY STEEL GATES TO THE PARKING GARAGE CLOSE

     THE ESCALATORS TO THE GARAGE COME TO A STOP

     CONTROL ROOM - SAME

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

     INT. LOBBY - SAME

     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 
     COMPUTER CARD.

     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.

     LOBBY - QUICK CUTS

     An elevator opens REVEALING TEN MORE MEN, all armed with 
     Kalashnikov machine guns and 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.

     MEANWHILE:

     A)  Karl takes a tool case from the elevator and joins his 
     brother TONY, first playfully grabbing him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 21


     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.

     HANS

     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.

     INT. ELLIS' BATHROOM - 30TH FLOOR - SAME

     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) 
     phone.

     INT. BUILDING BASEMENT - PHONE ROOM

     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.

     INT. ELLIS' BATHROOM - RESUME

                           MCCLANE
                    (on phone)
               Argyle...?

     INT. LIMO

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

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

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

     INT. PHONE ROOM - SAME

     Karl cuts through the four tubes one at a time.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 22


     INT. ELLIS' BATHROOM - SAME

     McClane on the phone.

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

                           MCCLANE
               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.

     INT. LIMO

     Argyle looks at the phone.

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

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

                           ARGYLE (CONT'D)
                    (to himself)
               Well, call me back, John.  You got 
               the number.

     He hangs up and turns the volume back up.

     ELLIS' OFFICE

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

     INT. SERVICE ELEVATOR

     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 AND SCREAMS WE:

                                                          CUT TO:

     INT. ELLIS' OFFICE

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 23


     MCCLANE'S P.O.V.

     Two terrorists, FRANCO 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.

     MCCLANE

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

     HALLWAY - FRANCO AND FRITZ

     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.

     INT. STAIRWELL - SAME

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

     31ST FLOOR

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 24


     UNFINISHED FLOOR

     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 
     out.

                           MCCLANE
               Shit...

     HE LOOKS OUT THE WINDOW AT:

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

     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.

     BACK TO SCENE

     Frustrated, he watches this, knits his brow.

                           MCCLANE
               Think...

     INT. 30TH FLOOR (HOSTAGE FLOOR) - SAME

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

     HOLLY

     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 
     mettle.

     WIDER

     As the employees are bunched together, Ellis seeks out Holly.

     He's clearly scared but trying to fake courage.  He pats her 
     hand "reassuringly."

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 25


     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.

                           HANS
                    (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.

                           HANS (CONT'D)
                    (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.

     INT. STAIRWELL - 33RD FLOOR - SAME

     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.

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

     INT. SERVICE ELEVATOR - NIGHT

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 26


                           HANS
               Nice suit.  John Philips...London?

     Takagi stares at him, speechless.

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

     INT. STAIRWELL

     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.

     MCCLANE'S P.O.V.

     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:

     MCCLANE

     closes the door and slips back down the stairs.

     INT. CONFERENCE ROOM - BOARD ROOM FLOOR - NIGHT

     Hans 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.

                           HANS (CONT'D)
               It's beautiful.  I always enjoyed 
               models as a boy.  The exactness, the 
               attention to every foreseeable 
               detail...  perfection.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 27


                           TAKAGI
                    (defensively)
               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.

                           HANS
               I believe you.
                    (smiling)
               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.

                           HANS (CONT'D)
               Mr. Takagi, we could discuss 
               industrialization or 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 actually...

                                                        JUMP CUT:

     A COMPUTER SCREEN SPITS OUT:

     NAKATOMI CORPORATION.

     BOARD WORKSTATION.

     ENTER CENTRAL COMPUTER CODE KEY

     THEO

     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:

                           TAKAGI
               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 --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 28


     HANS BARKS HIM TO SILENCE:

                           HANS
               SIT DOWN!

     Takagi complies.  Hans is abruptly compassionate and quiet.

                           HANS (CONT'D)
               Mr. Takagi...I'm not interested in 
               your computer.
                    (beat)
               I'm interested in the 640 million 
               dollars in negotiable bearer bonds 
               you have in your vault.

     ON Takagi's reaction.

                           HANS (CONT'D)
               Yes...I know about them.  The code 
               key is a necessary step in accessing 
               the vault.

                           TAKAGI
               You want...money?  What kind of 
               terrorists are you?

                           HANS
                    (amused)
               Who said we were terrorists?

     MCCLANE - ENTERING THIS FLOOR

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

     CONFERENCE ROOM - RESUME

     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.

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

                           TAKAGI
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 29


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

                           THEO
                    (aside to Karl)
               I told you...

                           KARL
               It's not over...

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

                           HANS
               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:

                           TAKAGI
               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 --

                           HANS
               Okay.

     BANG!!  HE PULLS THE TRIGGER:

     OUT IN THE MUSEUM - MCCLANE

     reacts as if shot.

     HIS P.O.V.

     The glass doors to the boardroom are splattered red and 
     dripping...

     INSIDE

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

     HANS SPRINGS TO HIS FEET:

                           HANS
               We do it the hard way!  Tony, see if 
               you can dispose of that.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 30


                           HANS (CONT'D)
                    (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.

     OUTSIDE - MCCLANE

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

     INSIDE - HANS

     hears it.  Karl is the first to move:

     KARL

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

     KARL

     returns to Hans.

                           KARL
               Nothing...

                           HANS
                    (nods)
               See to Heinrich...
                    (to Theo)
               Now...you can break the code key...?

                           THEO
                    (grins)
               You didn't bring me along for my 
               charming personality.

     As he heads for the elevator.

                           THEO (CONT'D)
                    (under his breath)
               'Though you could have...

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

     INSIDE THE SUPPLY CLOSET - MCCLANE

     slowly lets out a breath, praying softly:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 31


                           MCCLANE
               Argyle.  Tell me you heard the shot.

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

                                                          CUT TO:

     INT. LIMO - PARKING GARAGE

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

                           ARGYLE
               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...

     MACHINE LEVEL - TIGHT ON CEILING

     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.

     VAULT ROOM - 31ST FLOOR

     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.

                           HANS
               How long?

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

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

     Theo grins, begins typing.

     HIS SCREEN

     He types BEGIN ALGORITHM CODE PROGRAM.  RANDOM NUMBERS AND 
     LETTERS begin going by:  AAAAA; 11111; AAAAB; 11112.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 32


     32ND FLOOR

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

                           MCCLANE
               Why the fuck didn't you stop him?
                    (beat)
               Because, you ignorant sonofabitch, 
               you'd be dead, too.  Think...think, 
               Goddamnit!

     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.

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

     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:

     INT. NAKATOMI - GROUND FLOOR OPERATIONS ROOM - SAME

     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.

     32ND FLOOR - SAME

     McClane stands at windows looking Northward for fire trucks.

     Suddenly we SEE the flashing red lights of FOUR ENGINES in 
     traffic two miles away.

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

     INT. SERVICE ELEVATOR - ON HANS - SAME

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 33


                           HANS
                    (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?

     MACHINE FLOOR

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

     UNFINISHED FLOOR - SAME

     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.

                           MCCLANE
                    (realizing)
               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.

     ON MCCLANE

     under a desk.  He takes in his options.

     HIS P.O.V.

     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.

     TONY

     He moves steadily toward the area where we saw McClane.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 34


                           TONY
               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.

     TONY'S P.O.V.

     A radial arm saw spins noisily.

     TONY

     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.

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

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

                           TONY
               You won't hurt me.

                           MCCLANE
               Yeah?  Why not?

                           TONY
                    (smug)
               Because you are a policeman.  There 
               are rules for policemen.

                           MCCLANE
               Yeah.  My Captain keeps telling me 
               the same thing.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 35


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

                           MCCLANE (CONT'D)
               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

     INTO:

     STAIRWELL LANDING

     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.

     NEW ANGLE

     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:

     INT. 32ND FLOOR - NIGHT

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 36


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

                           MCCLANE
               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:

     A DESK

     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.

     IN THE ELEVATOR - UNFINISHED FLOOR

     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.

     HOSTAGE FLOOR

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 37


                           HANS
               I wanted this to be professional, 
               efficient, adult, cooperative.  Not 
               a lot to ask.  Alas, your Mr. Takagi 
               did not see it that way...
                    (harder)
               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.

     NEW ANGLE

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

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

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

     HANS

     REACTS.

                           HANS (CONT'D)
                    (indicating the 
                    hostages)
               Get them over there.  Schnell!

     The guards quickly hustle the hostages away as Hans crosses 
     to the elevator, but not before.

     HOLLY

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

     NEAR THE ELEVATOR

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 38


     INSERT - THE NOTE

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

     BACK TO SCENE

                           FRITZ
               Perhaps a security guard we 
               overlooked...?

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

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

     ROOF OF ELEVATOR - SAME TIME

     McClane is staring through a tiny crack at the scene below 
     him.

     CAMERA ADJUSTS from Fritz in the b.g. to Hans and Franco 
     just below.

     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 in Lobby (?) and 2+ with hostages??  Plus ones on 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.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 39


     INT. ELEVATOR SHAFT - CAR ROOF - ON MCCLANE - SAME

     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.

     MCCLANE'S P.O.V.

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

     MCCLANE

     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.

     MCCLANE'S P.O.V.

     Total darkness.

     MCCLANE

     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.

                           MCCLANE
               Jesus...

     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:

     PUMP ROOM

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

     MCCLANE'S P.O.V.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 40


     30TH FLOOR (HOSTAGE FLOOR) - HOLLY'S OFFICE - SAME

     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.

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

                           KARL
                    (pushing him away)
               He was my only brother...my only 
               family!
                    (a flat statement)
               I want blood for my blood.  We 
               search...now.

     He starts to move.  Hans stops him.

                           HANS
                    (firmly)
               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.

                           KARL
                    (quietly)
               And if he alters it...?  

     For once Hans doesn't have an answer.

     HOSTAGES - AROUND THE CORNER

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

                           ELLIS
               What's happening?

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

                           ELLIS
               The police...?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 41


                           HOLLY
                    (shaking her head)
               John.

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

                           HOLLY
               How about his job?

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

                           HOLLY
                    (quietly)
               Tell that to Mr. Takagi.

     EXT. ROOF - NIGHT

     McClane climbs

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

     INT. HANS' OFFICE - SAME

     Hans, Karl, Fritz and Franco hear the clear signal over Hans' 
     CB.

                           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.

                           HANS
               The roof.  It's the best place to 
               transmit.

     They move.

     INT. LOS ANGLES EMERGENCY DISPATCH CENTER - SAME

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 42


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

                           SUPERVISOR
                    (frowning)
               -- the false alarm?  I'll handle it.

     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.)

                           SUPERVISOR (CONT'D)
                    (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?

     INT. SERVICE ELEVATOR - ON KARL - SAME

     with Franco and Fritz.

                           KARL
               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.

     EXT. UPPER ROOF

     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.

                           MCCLANE
               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 --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 43


                           MCCLANE
                    (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:

     INT. DISPATCHER OFFICE - SAME

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

     EXT. ROOF - ON MCCLANE - SAME

     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.

     INT. EMERGENCY DISPATCH - SAME

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

                           SUPERVISOR
                    (importantly)
               Ad...have a black-and-white do a 
               drive-by.

                                                          CUT TO:

     INT. 7-11 - AT THE COUNTER - NIGHT

     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.

                           CLERK
               Thought you guys just ate donuts.

                           POWELL
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 44


     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.

                           POWELL
               One Adam Ten, go ahead.

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

                           POWELL
                    (thinking)
               Nakatomi Plaza?

     He moves to the door, steps outside.

     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.

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

     And he BURNS RUBBER leaving the store:

                                                          CUT TO:

     EXT. ROOF - ON MCCLANE - NIGHT

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 45


     ELEVATOR SHAFT NEAR PUMP ROOM

     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.

     INT. PUMP ROOM - OTHER END

     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?

                           FRANCO
               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.

                           KARL
               Hans, he killed my brother --

                           HANS
                    (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.

     INT. ELEVATOR SHAFT - ON MCCLANE

     He's OVERHEARD enough of this to realize he's in deep shit.

     He backtracks to the air shaft door, strikes a cigarette 
     lighter.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 46


     ELEVATOR SHAFT (OPPOSITE SIDE)

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

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

     HIS WEAPON

     and its canvas gunsling and metal strap slides.

     BACK TO SCENE

     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:

     AIR SHAFT

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

     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.

     CLOSE ON THE SLING

     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.

     KARL

     He moves silently toward the corner.

     CLOSE - MCCLANE'S TOES

     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.

     THE SLING

     One of the canvas end slips through the clip.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 47


     ON MCCLANE

     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.

     ON KARL

     Around the corner Karl FREEZES, unsure of the sound:

     ON MCCLANE

     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.

     ON KARL 

     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.

     HIS P.O.V.

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

     INT. AIR CONDITIONING DUCT - ON MCCLANE - SAME

     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.

                           MCCLANE
               Whew...for a moment there I was 
               worried.

     He turns out his lighter, and starts crawling.

     INT. MACHINE FLOOR

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 48


     Almost immediately, the others return.

                           FRANCO
                    (a whisper)
               Nothing.

     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.

     HIS P.O.V.

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

     INT. AIR DUCT - SAME

     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.

     MACHINE ROOM

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

                           FRANCO
               Nothing.

     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 
     body.

     INSIDE THE AIR DUCT

     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.

     ON KARL

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 49


     ON MCCLANE

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

     KARL

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

                           FRANCO
               Karl!  Police!  Come on.

     Karl hesitates then lowers his gun and leaves.

     CLOSE - MCCLANE

     He hears the door close and lowers his head.

     INT. 33RD FLOOR - SAFE ROOM

     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.

                           THEO
               You bet your ass I'm gonna proceed.

     HE TURNS ON THE DRILL:

     EXT. CENTURY CITY - AVENUE OF THE STARS - NIGHT

     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.

     ON POWELL

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 50


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

     He pulls in and parks in the front.

     INT. MACHINE ROOM - SAME

     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.

     EXT. ROOF - SAME

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

     INT. 3RD FLOOR - SAME

     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.

     30TH FLOOR (HANS' OFFICE) - SAME

     Hans watches from above.  He raises his CB.

                           HANS
                    (his usual calm)
               Eddie?

     INT. LOBBY - SAME

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

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

                           HANS' VOICE
               Let him in.

     Eddie is a little startled, but he moves quickly.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 51


     ALEXANDER

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

     EXT. FRONT DOOR OF NAKATOMI - SAME

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

                           EDDIE
               Evening, officer.  What's up?

     Powell steps in and looks around.  Bland HOLIDAY MUZAK filters 
     from Speakers here.   (LET IT SNOW)

                           POWELL
               We got an emergency call that there 
               was a problem here.

     INT. 34TH FLOOR - BOARD ROOM - SAME

     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.

     HIS P.O.V.

     Powell's car.

                           MCCLANE
               All right!

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

                           MCCLANE (CONT'D)
               Where's the fucking cavalry?

     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.

                           EDDIE
               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.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 52


                           EDDIE (CONT'D)
                    (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 time.

     WITH MCCLANE

     The silent tension is driving him crazy.

                           MCCLANE
               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.

     EXT. ROOF                                            153-B

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

     INT. MACHINE FLOOR                                   153-C

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

     INT. LOBBY

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

     AROUND THE CORNER FROM POWELL

     Uli is there, gun held ready.

     BOARD ROOM - 34TH FLOOR

     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.

     INT. 34TH FLOOR - BOARD ROOM

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 53


     MCCLANE

     lying prone, his pistol trained on him.

                           MCCLANE
               Drop it or you're a rugstain.

     BOARD ROOM DOORWAY

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

                           HEINRICH
               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.

     HOSTAGE FLOOR

     They can FAINTLY HEAR the gunshots.  Holly pales:

     THE LOBBY

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

                           POWELL
               Screw this.

     He turns back.

     THE BOARD ROOM

     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.

     ON MARCO

     On the table top-- slams in a fresh magazine and smiles.

                           MARCO
               Next time -- don't hesitate.

     He leans his machine gun over the edge.

     MCCLANE

     aims directly above him and fires twice into the underside 
     of the table.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 54


     The bullets rip through the table and Marco, who DROPS beside 
     McClane.

                           MCCLANE
               Thanks for the advice.

     INT. LOBBY - SAME

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

                           POWELL
               Sorry to waste your time.  Merry 
               Christmas.

     Powell goes out.

     INT. 34TH FLOOR BOARD ROOM - SAME

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

                           MCCLANE
               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.

     INT. POWELL'S POLICE CAR - SAME

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

                           POWELL
               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 
               delightful...'

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

                           POWELL
               Roger.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 55


                           POWELL (CONT'D)
                    (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.

                           POWELL (CONT'D)
                    (terrified)
               -- 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.

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

     INT. 34TH FLOOR - BOARD ROOM

     McClane looks down at Powell and grins.

                           MCCLANE
               Welcome to the party, pal.

                                                          CUT TO:

     INT. OFFICE - TV STATION - SAME TIME

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 56


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

                           SCANNER
               -- attention all units.  Officer 
               pinned down by automatic weapon fire 
               at Nakatomi, Century City --
               request assistance -- (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 -- !

                           THORNBURG
                    (pleased)
               All right...!

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

                           THORNBURG (CONT'D)
               Mary, this is Dick.  I want a remote 
               truck and a crew to meet me at the 
               South gate in fifteen minutes...
                    (listens)
               Damn right, fifteen...
                    (listens)
               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 
     phone.

                           WOMAN'S VOICE
               Richard?  Richard?

     EXT. CENTURY CITY - NIGHT

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

     INT. HOSTAGE WING - ON ELLIS - SAME

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 57


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

     HANS' OFFICE

     Hans, Karl, Fritz and Franco confer.

                           HANS
                    (in mid-speech)
               -- all of you, stay at your posts!  
               We knew that police action was 
               inevitable...
                    (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.

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

     INTERCUT:

     MCCLANE - 34th FLOOR - BOARD ROOM

     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.

                           MCCLANE
               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 
     name-drops.

                           FRANCO
               How...how does he know so much about --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 58


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

     INT. 34TH FLOOR - ON MCCLANE - INTERCUT

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

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

     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.

                           MCCLANE (CONT'D)
                    (sotto, to the body)
               Bad for your health anyway.

                           HANS
               Who are you, then?

                           MCCLANE
               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.

                           HANS
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 59


     Now, he starts to walk down a corridor, eyes PANNING FROM 
     elevator to the stairwell doors.

                           HANS (CONT'D)
               Mr. Mystery Guest.  Are you still 
               there?

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

                           HANS
               I'm afraid not.  But you have me at 
               a loss -- you know my name, but who 
               are you?
                    (scornfully)
               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 Dillon.

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

                           HANS
                    (harsh)
               Do you really think you have a chance 
               against us, Mr. Cowboy?

     A LIGHT blinks on the elevator.

                           MCCLANE
                    (long pause)
               Yipee-yi-yea...mother-fucker.

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

     Hans sits quietly...thinking.

                                                          CUT TO:

     INT. 30TH FLOOR - SAME

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 60


                           KARL
                    (quietly)
               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 
                    alarmed)
               And his bag is missing.

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

     INTERCUT:

     THEO - IN SAFE ROOM

     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.

                           THEO
               Yo!

                           HANS
               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.

                           THEO
               Three down, four to go --

                           HANS
               Then don't waste time talking to me.

     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...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 61


     INT. 33RD FLOOR - ON MCCLANE - NIGHT

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

     INTERCUT:

     EXT. POLICE OPERATIONS TRAILER

     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.

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

     INTERCUT:

     HANS AND KARL

     Listening intently.

                           MCCLANE
               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 chunk of plastic 
               explosive to orbit Kate Smith.

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 62


                           HANS
                    (shaking his head, 
                    calming)
               The police are irrelevant.  We're 
               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

                           HANS (CONT'D)
               We must find those detonators.

     They leave.

     WITH MCCLANE

                           POWELL'S VOICE
               How many are there?

                           MCCLANE
                    (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.

                           POWELL
               How do you know?

                           MCCLANE
               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 -
               perps 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.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 63


                           MCCLANE
               I'm ahead of you...partner.

                           POWELL
               Uh, what do I call you?
                    (A moment.  McClane 
                    smiles.)
               What the hell?

                           MCCLANE
               'Roy'.

                           POWELL
               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?

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

     McClane turns off his CB and sits against the wall.

     EXT. POLICE OPERATIONS - NIGHT

     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.

                           ROBINSON
               Who's talking to them?

     POWELL TURNS AROUND

                           POWELL
               I am, Sir...Sergeant Al Powell.

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 64


                           ROBINSON
                    (puzzled)
               Then who the hell have you been 
               talking too?

                           POWELL
               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.

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

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

                           ROBINSON
               How do you know?

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

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

     Something draws Robinson's attention.  He looks at:

     HIS P.O.V. - REMOTE NEWS TRUCK

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

     BACK TO SCENE

                           ROBINSON
               Oh shit...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 65


     HOSTAGE FLOOR

     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.

                           HOLLY
               I...have a request.

                           HANS
               Oh?  What idiot put you in charge?

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

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

                           HANS
               Go on.

                           HOLLY
               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.

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

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

                           HANS
                    (nods)
               Yes, you're right.  It will be done.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 66


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

                           HANS (CONT'D)
               Mr. Takagi chose his people well, 
               Mrs...?

                           HOLLY
               Gennero.  Miss Gennero.

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

     CLOSER - TV

     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.

                           THORNBURG
               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 Terrorism...

     ANOTHER TV SCREEN - NIGHT

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

                           ARGYLE
                    (reaching for the 
                    remote)
               What else is new...?

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

                           ARGYLE (CONT'D)
                    (stunned)
               Holy shit...

                           THORNBURG
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 67


     EXT. LIMO - IN THE GARAGE

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

     BACK INSIDE

     Argyle pours himself a stiff drink.

                           THORNBURG
                    (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 indicate...

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

                                                          CUT TO:

     OUTSIDE THE BUILDING - SAME TIME

     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.

                           POWELL
               What's going on?

                           ROBINSON
               What's it look like?  We're going 
               in.

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

                           ROBINSON
               -- all we know?  We don't know shit,
               Powell.  If there's hostages why 
               hasn't anyone asked for ransom?
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 68


                           ROBINSON (CONT'D)
               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!

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

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

                           MITCHELL
               Chief, we're ready.

                           ROBINSON
               I'm coming.

                           MITCHELL
                    (into radio)
               Rivers.

                           RIVERS
                    (over radio)
               Yo.

                           MITCHELL
               Begin your reconnoiter.

     MCCLANE

     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.

     HIS P.O.V. - OUTSIDE

     Hints of activity in the darkness.  A LIGHT FLARES 
     extinguished.

     Shadows move on trailer walls.

     BACK TO SCENE

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 69


     INTERCUT:

     OUTSIDE

     Powell stiffens.  Robinson looks at him warningly, shakes 
     his head.

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

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

                           POWELL
               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.

     IN HOLLY'S OFFICE - HANS

     He hunches over his communicator.

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

     EDDIE

     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, 
     ready.

     VARIOUS SHOTS - TERRORISTS - ON OTHER FLOORS

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 70


     AT THE LOBBY DOOR

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

     EXT. CENTURY CITY - ON MITCHELL AND ROBINSON

                           POLICE BARRICADES
               Mitchell listens to CB radio.

                           RIVERS
                    (over radio)
               We're in position.

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

                           MITCHELL
                    (to CB)
               Go.

     QUICK SHOTS - INSIDE THE LOBBY

     The SECURITY CAMERAS on the walls PAN and ZOOM:

     THE VAULT DOOR

     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."

                           THEO
                    (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.

     INT. LOBBY - NIGHT

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 71


     ANGLE ON TWO SWAT OFFICERS

     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.

     INT. 33RD FLOOR - MCCLANE

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

                           MCCLANE
                    (to himself)
               No...

     EXT. POLICE BARRICADES - ON MITCHELL AND ROBINSON

     Suddenly rifle fire sounds from the building.

                           ROBINSON
                    (worriedly)
               They're shooting at them

                           MITCHELL
                    (calmly)
               It's panic fire...they can't see 
               anything.

                           POWELL
                    (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.

                           ROBINSON
               They're going after the lights!

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

                           ROBINSON (CONT'D)
               Call them back.

                           MITCHELL
               No, they're almost in.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 72


     IN HOLLY'S OFFICE - HANS

     He calmly speak into his CB.

                           HANS
               Don't get impatient.  Just wound 
               them.

     INT. LOBBY

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

     EXT. POLICE BARRICADES - ON MITCHELL AND ROBINSON

                           MITCHELL
                    (on radio)
               Send in the car!

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

     INT. ROOF-MACHINE ROOM/SERVICE ELEVATOR - SAME

     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 
     crates.

     WITH THEO - WATCHING SCREENS

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

     INT. 3RD FLOOR - SAME

     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.

                           ALEXANDER
                    (to Hans, CB)
               I HAVE THEM

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 73


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

     EXT. THE ARMORED CAR

     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 grins.

     30TH FLOOR - HANS

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

                           HANS
               Hit it again.

     MCCLANE

     listening.  He picks up his CB.

                           MCCLANE
               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.

     3RD FLOOR

     James runs back to the crate on the elevator.

     EXT. POLICE BARRICADE - ON ROBINSON AND MITCHELL

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

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

                           RIVERS
                    (voice over; on radio, 
                    yelling)
               This is Rivers.  We've got one dead.
               Everybody's hit.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 74


                           RIVERS (CONT'D)
               Rodriguiz's bleeding bad.  We've got 
               to get the fuck out of here!

                           MITCHELL
                    (to radio)
               Rivers Hang on, we'll get you out.

     INT. ELEVATOR CAR - 3RD FLOOR - SAME

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

     INT. 33RD FLOOR - CLOSE ON A SHAPE ON PLASTIC EXPLOSIVE - 
     SAME

     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.

     ANGLE ON SERVICE ELEVATOR - MCCLANE

     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.

     INT. 3RD FLOOR

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

     INT. 38TH FLOOR

     McClane push the chair into the shaft.

                           MCCLANE
               Geronimo...motherfuckers.

     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.

     ON THE 3RD FLOOR

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

     BLOWING OUT THE MACHINE GUN NEST AND JAMES AND ALEXANDER

     SHATTERING WINDOWS

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 75


     SENDING DESKS, CHAIRS, PHONES, AND TYPEWRITERS FLYING

     EXT. AVENUE OF THE STARS

     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.

     INT. UNDERGROUND PARKING GARAGE - ON WILLIAM - SAME

     Watching it on TV, feeling it all around him.

                           WILLIAM
               Oh, Jesus...

     EXT. DOWN ON THE STREET - SAME

     Dick Thornburg's crew is taping.

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

                           CAMERAMAN
               Yep.

     Thornburg looks at his competitors still setting up.

                           THORNBURG
               Eat your heart out, Channel Four.

     ON HOSTAGE FLOOR

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

                           FRANCO
               They're using artillery on us--!

                           HANS
               You idiot, it's not the police...
                    (pause)
               ...It's him.

     ANGLE ON HOLLY

     She comforts Ginny.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 76


     INT. 32ND FLOOR - MCCLANE - SAME

     He sits up and lifts the CB.

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

     INTERCUT:

     EXT. POWELL

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

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

                           MCCLANE
               The plastique I found.
                    (worried)
               Is the building on fire?

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

                           MCCLANE
               Two?  Are you sure?

     Before Powell can answer Robinson comes running up to him.

                           ROBINSON
               Is that him?

                           POWELL
               Yes sir.

                           ROBINSON
                    (reaching for Powell's 
                    CB)
               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'!
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 77


                           ROBINSON (CONT'D)
               There's hundreds of people out here 
               and you covered half of them in pieces 
               of glass --

                           MCCLANE
               Glass, my ass!  Who the fuck is this?

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

     McClane leans tiredly against the elevator door.

                           MCCLANE
               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.

                           ROBINSON
               Listen asshole -- !

                           MCCLANE
                    (exploding)
               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.

     INT. LIMO - ARGYLE - SAME

     Argyle nods in agreement.

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

     INT. 33RD FLOOR - ON MCCLANE

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 78


                           MCCLANE
                    (pissed)
               Pretty fucking unappreciated.

     INTERCUT:

     ON POWELL

     Other officers, including Robinson, monitor the conversation.

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

                           MCCLANE
                    (tired, touched)
               Thanks...partner.

     TV - CLOSE

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

                           GAIL
                    (as the picture 
                    stabilizes)
               ...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.

                           GAIL (CONT'D)
                    (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.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 79


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

                           HOLLY
               Where are you going?

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

                           HOLLY
                    (worried)
               What are you going to do?

                           ELLIS
               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 
     worries.

     THE OFFICE

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

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

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

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

                           ELLIS
               Hope I'm not interrupting...?

                           HANS
                    (to Fritz)
               What does he want?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 80


     AS FRITZ SHRUGS:

                           ELLIS
               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.

                           HANS
                    (politely)
               You're very perceptive.

                           ELLIS
                    (flattered)
               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?

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

                           ELLIS
               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.
                    (smiling)
               Hans, baby...I'm your white knight.

                           HANS
                    (dryly)
               I must have missed 60 Minutes.  What 
               are you saying?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 81


                           ELLIS
               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:

     POWELL

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

                           POWELL
               Roy!  You all right?

     INSIDE - MCCLANE

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

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

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

                           MCCLANE
                    (laughing)
               You sound like a man with a couple 
               of kids.

                           POWELL
               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.

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

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 82


     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.
                    (pause)
               Or should I call you Mister McClane?  
               Mister officer John McClane of the 
               NYPD?

     McClane FREEZES.  How much do they know?

     THORNBURG - IN TRAILER

     Reacts, gleeful, writes down the name.

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

     POWELL

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

     INTERCUT:

     MCCLANE AND HANS

                           MCCLANE
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 83


                           MCCLANE
               Ellis?

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

                           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 (CONT'D)
               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 or they're going to kill 
               me.

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

     INT. POLICE TRAILER - ON POWELL, ROBINSON - SAME

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 84


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

                           MCCLANE
                    (to CB, quietly)
               Yeah, I hear you, you fucking 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 
               shithead 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 asshole's not my friend!  barely 
               know him!  I hate his fucking guts --
                    (desperately sincere)
               -- Ellis, for Christ's sake, tell 
               him you don't mean shit 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 button, 
     and in one frighteningly smooth motion brings the Walther up 
     to Ellis' forehead and PULLS THE TRIGGER.

                                                          CUT TO:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 85


     INT. 33RD FLOOR - MCCLANE

     He was expecting the SHOT but it still chills him.

     30TH FLOOR - HOLLY AND HOSTAGES

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

     INT. HANS' OFFICE - ON HANS

     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 fuck yourself.

     He DISCONNECTS.

     EXT. BUILDING

     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!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 86


                           POWELL
                    (amused)
               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!

                           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 asses 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:

     HANS' OFFICE

                           HANS
               This is Hans Gruber.  I assume 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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 87


     INTERCUT:

     MCCLANE

     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...

     HANS' OFFICE

                           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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 88


     INTERCUT:

     VAULT ROOM

     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 (CONT'D)
               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 shit 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.

     MCCLANE - 32ND FLOOR

     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 bullshit in your life?  Two 
               hours?  That doesn't even make any 
               sense --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 89


                           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.

     INT. TV STUDIO - NIGHT

     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. Hasseldorf, 
               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?

     CONTROL ROOM

     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...

     INT. NAKATOMI - HOSTAGE FLOOR

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 90


                           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...

     INT. BUILDING - MACHINE FLOOR

     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.

     OUTSIDE THE BUILDING

     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:

     A BIG DARK GOVERNMENT CAR

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

     HIS P.O.V. - FBI AGENTS

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 91


                           ROBINSON
                    (stepping forward, 
                    plastic smile)
               Dwayne Robinson, LAPD.  I'm in charge 
               here.

                           BIG JOHNSON
               Not any more.

     AS ROBINSON REACTS, WE GO TO:

     THE MECHANICAL FLOOR - TIGHT ON HANS

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

     LOW ANGLE

     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?

     NEW ANGLE

     A moment.  And then Hans turns, looks up.

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

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

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

     HANS' EYES DART TOWARDS:

     THE BUTTRESS TEN FEET AWAY

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 92


     BACK TO SCENE

                           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:

     OUTSIDE BUILDING

                           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?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 93


     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 94


     THE COMPUTER 

     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 --

     CLOSER SHOT

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

                           HANS
                    (shaking hands)
               William Clay.
                    (smiling)
               Call me Bill.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 95


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

     THE WALL - A ROSTER OF NAKATOMI EMPLOYEES

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

     BACK TO SCENE

                           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 (CONT'D)
               Time for the real thing.

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

     NEW ANGLE

     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.  You're Hans.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 96


                           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 (CONT'D)
               You think I'm a shmuck, Hans.

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

                           HANS
               You were saying.

     MCCLANE WHIRLS IN TIME TO SEE:

     KARL, FRANCO AND FRITZ

     Coming out of it, FIRING.

     BACK TO SCENE

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

     WHERE HANS WAS

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

     BACK TO SCENE

     McClane curses himself, then RETREATS into a:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 97


     BANK OF COMPUTERS

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

     FRANCO

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

     CLOSER

     He SLIDES right into a glass door.  It smashes around his 
     head.

     Bright arterial BLOOD fountains up:

     MCCLANE

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

     HE TURNS:

     HANS

     has reappeared and snatched up Franco's weapon.

     MCCLANE

     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.

     HANS

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

                           HANS
               The glass!  Shoot the glass!

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

     MCCLANE

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 98


     McClane reaches the end of the counter, DIVES and rolls to 
     the floor:

     HIS FOOT

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

     STAIRWELL DOOR

     He's out, gone, safe!

     BACK TO SCENE

     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:

     INT. TV TRAILER

                           HASSELDORF
                    (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 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:

     HOSTAGE FLOOR

     Eddie and Uli are guarding the hostages.  Hans and Karl 
     return.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                            p. 99


     Hans tosses the bag of detonators to Uli, who grins, leaves.

     HOLLY AND GINNY

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

                           GINNY
               That one looks pissed, Ms. Gennero...

                           HOLLY
                    (relieved)
               Thank God.
                    (explaining)
               He's still alive.

                                                          CUT TO:

     UPSTAIRS - WASHROOM

     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:

     VAULT ROOM - SAME TIME

     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 
               Electromagnetic came down like a 
               sledgehammer...

     HANS' OFFICE

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

     INT. BATHROOM - NIGHT

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 100


                           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:

     POWELL - OUTSIDE

                           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 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 anymore...at least not out 
               there.  I had an...accident.

     McClane throws the glass across the room, forehead bathed in 
     sweat.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 101


                           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 (CONT'D)
                    (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 shit.

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

     AND AS MCCLANE REACTS WE GO TO:

     INT. VAULT ROOM - NIGHT

     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...

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 102


     ON THEO'S LOOK:

                           HANS (CONT'D)
               ...the circuits that cannot be cut...  
               are cut automatically in response to 
               a terrorist incident...You ask for 
               miracles, Theo...I give you the FBI...

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

                                                         CUT TO:*

     EXT. BUILDING

     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 massive contacts CLUNK.

     THE BUILDING

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

     MCCLANE

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

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

     INTERCUT:

     OUTSIDE

                           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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 103


     THE HOSTAGES

     GROAN WITH THIS NEW PROBLEM:

     THE VAULT ROOM

     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.

     SAFE LED READOUT

     It still reads "FIBER OPTIC TIME LOCK CANNOT BE DISARMED AT 
     THIS LOCATION.  TERMINATE SEQUENCE (Y/N)?"

     BACK TO SCENE

                           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.

     EXT. BUILDING

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

                           LITTLE JOHNSON
               Shit!
                    (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 --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 104


                           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 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.

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

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

     IN THE VAULT ROOM

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

     THE LED READOUT ON THE SAFE

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

     BACK TO SCENE

     With a dramatic HUM worthy of 2001, the vault door OPEN

     OUTSIDE

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 105


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

     IN THE VAULT ROOM

     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:

     THORNBURG'S TV TRUCK

     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:

     OUTSIDE THE NAKATOMI BUILDING

     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 ass.
                    (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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 106


     INTERCUT:

     VAULT ROOM

     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 (CONT'D)
               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:

     INT. BATHROOM

                           POWELL
               I'm here, John.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 107


     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 ass 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 bastard...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:

     HOLLY'S FRONT DOOR

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 108


                           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:

     THE MECHANICAL FLOOR

     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.

     HIS P.O.V.

     Explosives are everywhere.

     BACK TO SCENE

     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 (CONT'D)
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 109


     NEW ANGLE

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

                                                          CUT TO:

     EXT. BUILDING - POLICE LINES

     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.

     NEW ANGLE

     Showing two HELICOPTERS in the distance heading this way.

                                                          CUT TO:

     MACHINE FLOOR

     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.

     NEW ANGLE

     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:

     HOSTAGE FLOOR - NIGHT

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 110


                           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...

     CLOSEUP - HOLLY

     She's speechless, watching in shock as:

     THE PORTABLE TV

     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.

     HOLLY

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

     HER P.O.V. - HANS

     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!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 111


                           HANS (CONT'D)
                    (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:

     THE MACHINE FLOOR

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

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

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

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

     NEW ANGLE

                           MCCLANE
               You should've heard your brother 
               scream when I broke his fucking 
               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:

     INSIDE AN FBI CHOPPER - IN FLIGHT

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 112


                           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:

     VAULT FLOOR

     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 (CONT'D)
               McClane!  McClane!  I have some news 
               for you...McClane?

     THE MACHINE FLOOR

     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.

     THE VAULT ROOM

                           HANS
               McClane?
                    (pause, then on a new 
                    channel)
               Karl?  Karl?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 113


     Nothing.  He looks at Theo.

                           HANS (CONT'D)
               Hurry.

     THE ROOF

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

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

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

     POWELL AND ROBINSON

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

     HOSTAGES ON THE ROOF

     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:

     VAULT ROOM

     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.

     MACHINE FLOOR

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 114


     LOW ANGLE

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

     MCCLANE

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

     KARL

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

     MCCLANE

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

                                                          CUT TO:

     CHOPPERS - IN THE AIR

     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:

     THE ROOF

     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 --

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 115


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

                           MCCLANE (CONT'D)
               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 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 --

                           MCCLANE
               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.

                           MCCLANE (CONT'D)
               GET BELOW!  NOW!

     IN THE WING CHOPPER - MID-AIR

     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.

     INSIDE THE OTHER CHOPPER

                           LITTLE JOHNSON
                    (into mike)
               Roger, Wing.  We copy.
                    (to the pilot)
               Swing around.
                    (raising his rifle)
               Give me a clear shot.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 116


     The pilot nods.

     INT. VAULT ROOM

                           HANS
                    (supervising the work)
               Schnell, schnell...der zeitz ist 
               kurz...

     Something catches his eye.  He turns, looks at:

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

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

                                                          CUT TO:

     THE ROOF

     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.

     HOSTAGES - ON LOWER FLOORS (OR IN STAIRWELL)

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

     IN THE CHOPPER

     BOTH JOHNSONS FIRE AWAY

                           BIG JOHNSON
               Bank and we'll nail him!

     THE VAULT ROOM

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 117


     THE ROOF

     McClane DIVES away from another burst.

                           MCCLANE
               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:

                           MCCLANE (CONT'D)
               Fuck this...

     Bullets HIT all around him.  He JUMPS:

     THE VAULT ROOM

     Hans extends the antenna...HITS the button.

     LONG SHOT - THE ROOF

     The helipad EXPLODES!  A FIREBALL rolls into the sky.

     THE HOSTAGES

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

     JOHNSON AND JOHNSON'S CHOPPER

     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!

     MCCLANE

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

     THE ROOF - HOSE WHEEL DEVICE

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

     MCCLANE

     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!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 118


     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:

     INSIDE THE BUILDING

     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:

     UP ON THE ROOF

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

     OUTSIDE THE BUILDING

     The hose mechanism tumbles downward!

     INSIDE

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

     THE HOSE WHEEL - OUTSIDE

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

     MCCLANE

     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:

     THE ROOF

     to RECOIL from another staggering explosion!

     THE HOSTAGES

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 119


     THEY SCREAM, CRY OUT:

     IN THE VAULT ROOM

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

     MCCLANE

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

     THE SHAFT

     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!

     BACK TO SCENE

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

     THE ELEVATOR

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

     WIDE SHOT

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

     THE VAULT FLOOR BALCONY

     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:

     EXT. BUILDING

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

     IN THE BASEMENT

     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:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 120


     HIS P.O.V. - THEO

     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.

     MCCLANE - ON THE VAULT FLOOR

     He creeps forward, looks carefully into:

     HIS P.O.V. - VAULT ROOM

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

     BACK TO SCENE

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

                           MCCLANE
                    (under his breath)
               Shit...

     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:

     IN THE BASEMENT

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

     ARGYLE

     Realization dawning, he vaults into the front seat.

     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.

     CLOSER        

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 121


                           ARGYLE
                    (looking around)
               Where's the camera when you need 
               them?

                                                          CUT TO:

     THE VAULT ROOM

                           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 
     COCKED by a rifle butt.

     WIDER

     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 fucking 
               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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 122


                           HANS (CONT'D)
                    (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, shithead...

                           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 fucker'?  Now 
               you are fucked.

     HE AIMS:

                           MCCLANE
               Holly, now...!

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

     MCCLANE - OVER SHOULDER SHOT

     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 - THROUGH MCCLANE'S WIDESPREAD LEGS

     Eddie takes a gunshot, DROPS just like on Gunsmoke.

     BACK TO SCENE

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

     MCCLANE

                           MCCLANE
               You were right about us Americans.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 123


                           MCCLANE (CONT'D)
                    (he blows smoke from 
                    his pistol barrel)
               We are cowboys.

     VAULT ROOM - WIDER

     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:

     HOLLY'S WRIST

     and she is YANKED off her feet!

     BACK TO SCENE

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

     EXT. BUILDING - LONG SHOT

     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.

     HANS' HAND - WIDEN

     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!

     MCCLANE

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

     VERY CLOSE

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

     WIDER

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 124


     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 (CONT'D)
               You got a warranty on this?

     She laughs through her tears, holds onto him.

                                                     DISSOLVE TO:

     EXT. BUILDING - DAWN

     Smoke drifts up from what has suddenly become the top floor.

     Thornburg's remote truck careens into the parking lot.

     CLOSER

     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 (CONT'D)
                    (emotional)
               Al.  Man, you were my rock.  I 
               couldn't have made it without you.

                           POWELL
               Bullshit.

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

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 125


                           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.

     HIS P.O.V.

     There in the doorway is Karl, clothing and body scorched.

     Easily as crusted in dirt and blood as McClane, he holds his 
     machine gun.

     EXT. BUILDING

     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.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
                                                           p. 126


     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 (CONT'D)
                    (Eager)
               Did you get that?

     McClane and Holly continue on, turn towards:

     ARGYLE'S LIMO

     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 rear window where McClane and 
     Holly are kissing.  As they drive off, we:

                                                         FADE OUT

                               THE END