Репетиторы английского по скайпу
<<<Мы Вконтакте>>>

Главная>Киносценарии>Крепкий орешек I/ Die Hard I

Фильм Крепкий орешек I/ Die Hard I. Сценарий на английском языке бесплатно.

Здесь вы можете найти сценарий к фильму: Крепкий орешек I/ Die Hard I.

Крепкий орешек I/ Die Hard I

FADE IN

1 405 FREEWAY - LOS ANGELES - EARLY EVENING 1

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

2 INT. 747 - PASSENGERS - SAME 2

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

3 ON JOHN MCCLANE 3

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

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

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

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

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

Peeking out from his jacket.

3-B BACK TO SCENE 3-B

Recognizing the look, McClane smiles reassuringly.

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:

3-C A PRETTY STEWARDESS 3-C

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 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:

4 INT. THE NAKATOMI BUILDING (LOS ANGELES) - EVENING 4

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...Rudolph and Frosty...those things ring a bell?

She turns into:

5 HER OFFICE 5

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

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.

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:

6 INT. NICE HOUSE IN SANTA MONICA 6

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

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'?

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.

7 INT. LAX - EVENING 7

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

MCCLANE (sotto, to himself) California.

He looks around the terminal at:

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

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

7-B BACK TO SCENE 7-B

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

MCCLANE 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?

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:

8 WITH THE LIMO - DUSK 8

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 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?

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

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

ARGYLE (instantly) So, you divorced of 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?

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 of Run DMC doing a revisionist number on WHITE CHRISTMAS or something. McClane gives up, looks out the window.

9 HIS P.O.V. 9

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

10- OUT OUT 10- 11 11

11-A THE LIMO - CENTURY CITY 11-A

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

12 EXT. NAKATOMI BUILDING - NIGHT 12

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

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.

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.

13 INT. NAKATOMI LOBBY - NIGHT 13

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

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.

13-A SCREEN - CLOSER 13-A

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

13-B MCCLANE 13-B

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

13-C THE SCREEN 13-C

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

13-D BACK TO SCENE 13-D

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:

13-E ANOTHER SECURITY GUARD 13-E

Patrolling a different area.

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

which are cleverly worked into the decor of the lobby.

13-G BACK TO SCENE 13-G

McClane reacts with bored professionalism, NODS to the guard.

MCCLANE Lots of hardware...

The guard shrugs. McClane gets in the elevator.

14 INT. ELEVATOR - NIGHT 14

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

15 30TH FLOOR - SAME 15

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

15-A TAKAGI 15-A

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

MCCLANE 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".

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

16 HOLLY'S OFFICE 16

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

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

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 (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.

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...!

16-A MCCLANE AND HOLLY 16-A

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

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 Go on, show him. 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:

17 EXT. NAKATOMI - NIGHT 17

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

18 INT. PARKING GARAGE 18

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

19 INT. LIMO - SAME 19

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

20 INT. PARKING GARAGE - SAME 20

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

21 INT. ELLIS' OFFICE - NIGHT 21

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

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 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.

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 ...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.

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.

MCCLANE (to himself) Schmuck!

22- OUT OUT 22- 23 23

24 INT. BUILDING LOBBY - SAME TIME 24

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

MAN #1 (THEO) (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 We're in.

25 ON THE SCREEN 25

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

26 INT. ELLIS' OFFICE - NIGHT 26

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

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

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

26 INT. BUILDING OPERATIONS CONTROL ROOM 26

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

27 THE HEAVY STEEL GATES TO THE PARKING GARAGE CLOSE 27

28 THE ESCALATORS TO THE GARAGE COME TO A STOP 28

29 OUT OUT 29

30 CONTROL ROOM - SAME 30

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

31 INT. LOBBY - SAME 31

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

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

32- OUT OUT 32- 35 35

35-A LOBBY - QUICK CUTS 35-A

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

Meanwhile:

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

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

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

36 HANS 36

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

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

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

38 INT. BUILDING BASEMENT - PHONE ROOM 38

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

39 INT. ELLIS' BATHROOM - RESUME 39

MCCLANE (on phone) Argyle...?

40 INT. LIMO 40

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.

41 INT. PHONE ROOM - SAME 41

Karl cuts through the four tubes one at a time.

42 INT. ELLIS' BATHROOM - SAME 42

McClane on the phone.

ARGYLE'S VOICE (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.

43 INT. LIMO 43

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

He hangs up and turns the volume back up.

44 ELLIS' OFFICE 44

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

45 INT. SERVICE ELEVATOR 45

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

CUT TO:

46 INT. ELLIS' OFFICE 46

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

47 MCCLANE'S P.O.V. 47

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

They are four offices away and moving fast.

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

48 MCCLANE 48

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

49 HALLWAY - FRANCE AND FRITZ 49

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

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

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

It is...empty.

50 INT. STAIRWELL - SAME 50

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

50-A 31th FLOOR 50-A

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

51 UNFINISHED FLOOR 51

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

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

MCCLANE Shit...

He looks out the window at:

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

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

51-B BACK TO SCENE 51-B

Frustrated, he watches this, knits his brow.

MCCLANE Think...

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

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

52-A HOLLY 52-A

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

52-B WIDER 52-B

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

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

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

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

56 INT. STAIRWELL - 33rd FLOOR - SAME 56

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

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

57- OUT OUT 57- 58 58

59 INT. SERVICE ELEVATOR - NIGHT 59

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

HANS Nice suit. John Philips...London?

Takagi stares at him, speechless.

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

60 INT. STAIRWELL 60

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

61 MCCLANE'S P.O.V. 61

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

62 MCCLANE 62

closes the door and slips back down the stairs.

63 INT. CONFERENCE ROOM - BOARD ROOM FLOOR - NIGHT 63

Hands enters, looks around. *

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

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

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

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

JUMP CUT:

64 A COMPUTER SCREEN SPITS OUT: 64

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

65 THEO 65

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

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 --

Hans barks him to silence:

HANS SIT DOWN!

Takagi complies. Hans is abruptly compassionate and quiet.

HANS 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 you vault.

ON Takagi's reaction.

HANS 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?

65-A MCCLANE - ENTERING THIS FLOOR 65-A

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

65-B CONFERENCE ROOM - RESUME 65-B

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

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.

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:

66 OUT IN THE MUSEUM - MCCLANE 66 *

reacts as if shot.

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

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

66-A INSIDE 66-A

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

Hans springs to his feet:

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

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

67 OUTSIDE - MCCLANE 67

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

68 INSIDE - HANS 68

hears it. Karl is the first to move:

69 KARL 69

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

70 KARL 70

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

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

71 INSIDE THE SUPPLY CLOSET - MCCLANE 71

slowly lets out a breath, praying softly:

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

CUT TO:

72 INT. LIMO - PARKING GARAGE 72

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

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...

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

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

73 VAULT ROOM - 31ST FLOOR 73

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

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.

73-A HIS SCREEN 73-A

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

74 32ND FLOOR 74

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.

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

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

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

The voice continues as the station doors open and we:

CUT TO:

76 INT. NAKATOMI - GROUND FLOOR OPERATIONS ROOM - SAME 76

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

77 32ND FLOOR - SAME 77

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

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

78 INT. SERVICE ELEVATOR - ON HANS - SAME 78

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

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?

78-A MACHINE FLOOR 78-A

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

79 UNFINISHED FLOOR - SAME 79

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

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

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.

80 ON MCCLANE 80

under a desk. He takes in his options.

81 HIS P.O.V. 81

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

82 TONY 82

He moves steadily toward the area where we saw McClane.

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.

83 TONY'S P.O.V. 83

A radial arm saw spins noisily.

84 TONY 84

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

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.

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

MCCLANE 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:

85 STAIRWELL LANDING 85

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

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

He rises, moves cautiously to the source.

85-A NEW ANGLE 85-A

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

CUT TO:

86 INT. 32ND FLOOR - NIGHT 86

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

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

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:

86-A A DESK 86-A

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

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

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

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

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

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

86-C HOSTAGE FLOOR 86-C

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

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.

87 NEW ANGLE 87

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

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

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

87-B HANS 87-B

REACTS.

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

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

87-C HOLLY 87-C

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

87-D NEAR THE ELEVATOR 87-D

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

87-E INSERT - THE NOTE 87-E

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

87-F BACK TO SCENE 87-E

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.

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

McClane is staring through a tiny crack at the scene below him. CAMERA ADJUSTS from Fritz in the b.g. to Hans and France just 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 87-H in Lobby (?) and 2+ with hostages?? Plus ones on 87-H roof (3)."

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

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

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

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

88 INT. ELEVATOR SHAFT - CAR ROOF - ON MCCLANE - SAME 88

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

89 MCCLANE'S P.O.V. 89

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

90 MCCLANE 90

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

91 MCCLANE'S P.O.V. 91

Total darkness.

92 MCCLANE 92

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

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:

93 PUMP ROOM 93

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

94 MCCLANE'S P.O.V. 94

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

95 30TH FLOOR (HOSTAGE FLOOR) - HOLLY'S OFFICE - SAME 95

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 Hands doesn't have an answer.

95-A HOSTAGES - AROUND THE CORNER 95-A

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

ELLIS What's happening?

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

ELLIS The police...?

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.

96 EXT. ROOF - NIGHT 96

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

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

97 OUT OUT 97

98 INT. HANS' OFFICE - SAME 98

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

99 INT. LOS ANGLES EMERGENCY DISPATCH CENTER - SAME 99

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

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

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

100 OUT OUT 100

101 INT. SERVICE ELEVATOR - ON KARL - SAME 101

with Franco and Fritz.

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.

102 EXT. UPPER ROOF 102

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

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 --

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:

103 INT. DISPATCHER OFFICE - SAME 103

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

104 OUT OUT 104

105 EXT. ROOF - ON MCCLANE - SAME 105

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

106 INT. EMERGENCY DISPATCH - SAME 106

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

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

CUT TO:

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

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

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

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.

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.

107-A EXT. CONVENIENCE STORE 107-A

Powell looks towards the horizon and up.

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

DISPATCH VOICE One Adam Ten, do you copy?

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

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

And he BURNS RUBBER leaving the store:

CUT TO:

108 EXT. ROOF - ON MCCLANE - NIGHT 108

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

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

109 ELEVATOR SHAFT NEAR PUMP ROOM 109

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

The catwalk ends, and the elevator is gone.

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

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

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

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 by 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.

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

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

110- OUT OUT 110- 117 117

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

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

118 MCCLANE 118

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

118-A HIS WEAPON 118-A

and its canvas gunsling and metal strap slides.

118-B BACK TO SCENE 118-B

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

119 AIR SHAFT 119

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

120 CLOSE ON THE SLING 120

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

121 KARL 121

He moves silently toward the corner.

122 CLOSE - MCCLANE'S TOES 122

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

123 THE SLING 123

One of the canvas end slips through the clip.

124 ON MCCLANE 124

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

125 ON KARL 125

Around the corner Karl FREEZES, unsure of the sound:

126 ON MCCLANE 126

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

127 ON KARL 127

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

128 HIS P.O.V. 128

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

129 INT. AIR CONDITIONING DUCT - ON MCCLANE - SAME 129

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.

130- OUT OUT 130- 133 133-

133-A INT. MACHINE FLOOR 133-A

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

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.

133-B OUT OUT 133-B *

134 HIS P.O.V. 134 *

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

135 INT. AIR DUCT - SAME 135

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

136 MACHINE ROOM 136

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

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.

137 INSIDE THE AIR DUCT 137

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

138 ON KARL 138

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

139 ON MCCLANE 139

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

140 KARL 140

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

FRANCO Karl! Police! Come on.

Karl hesitates then lowers his gun and leaves.

141 CLOSE - MCCLANE 141

He hears the door close and lowers his head.

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

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

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

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

THEO You bet your ass I'm gonna proceed.

He turns on the drill:

142 OUT OUT 142

143 EXT. CENTURY CITY - AVENUE OF THE STARS - NIGHT 143

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

144 ON POWELL 144

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

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

He pulls in and parks in the front.

145 INT. MACHINE ROOM - SAME 145

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

146 EXT. ROOF - SAME 146

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

147 INT. 3RD FLOOR - SAME 147

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

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

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

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

Hans watches from above. He raises his CB.

HANS (his usual calm) Eddie?

149 INT. LOBBY - SAME 149

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.

149-A ALEXANDER 149-A

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

150 EXT. FRONT DOOR OF NAKATOMI - SAME 150

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

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.

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

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

152 HIS P.O.V. 152

Powell's car.

MCCLANE All right!

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

MCCLANE Where's the fucking cavalry?

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

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

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. (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.

152-B- OUT OUT 152-B 153 153

153-A WITH MCCLANE 153-A

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.

153-B EXT. ROOF 153-B

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

153-C INT. MACHINE FLOOR 153-C

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

154 INT. LOBBY 154

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

154-A AROUND THE CORNER FROM POWELL 154-A

Uli is there, gun held ready. *

155 BOARD ROOM - 34th FLOOR 155

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

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

157 INT. 34th FLOOR - BOARD ROOM 157

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

158 MCCLANE 158

lying prone, his pistol trained on him.

MCCLANE Drop it or you're a rugstain.

159 BOARD ROOM DOORWAY 159

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.

159-A HOSTAGE FLOOR 159-A

They can FAINTLY HEAR the gunshots. Holly pales:

159-B THE LOBBY 159-B

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

POWELL Screw this.

He turns back.

159-C THE BOARD ROOM 159-C

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

160 ON MARCO 160

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

MARCO Next time -- don't hesitate.

He leans his machine gun over the edge.

Следующая страница>>>

Фильм Крепкий орешек I/ Die Hard I. Сценарий на английском языке бесплатно
Copyright © 2005-2017 Павел Киселёв. Все права защищены. Публикация и использование любых материалов сайта на других проектах и в СМИ запрещено! Нарушители будут преследоваться по закону!
По всем вопросам, замечаниям, предложениям обращайтесь homeenglish@mail.ru