Die Hard 2 Page #12

Synopsis: A year after his heroics in L.A, detective John McClane (Bruce Willis) is mixed up in another terrorist plot, this time at Washington Dulles International Airport, where he is waiting for his wife (Bonnie Bedelia). That same night, South American politico and drug profiteer Ramon Esperanza (Franco Nero) is arriving in U.S. custody. McClane takes action when a treasonous ex-colonel (William Sadler) seizes control of the airport, threatening to crash every inbound flight unless Esperanza is freed.
Genre: Action, Thriller
Production: 20th Century Fox
  1 win & 1 nomination.
 
IMDB:
7.1
Metacritic:
67
Rotten Tomatoes:
70%
R
Year:
1990
124 min
1,892 Views


TRUDEAU:

(TO STUART)

Damn it, you can't do this -!

STUART:

I am doing this.

CONTINUED:

99 CONTINUED - (2) 99

TRUDEAU:

(pause; to Barnes)

Put me on all bands...

Trudeau waits as switches are thrown, and then takes the jack

from the ear/phone he wears and jacks it into a panel.

TRUDEAU:

This is Dulles approach to all

aircraft holding.at Potomic Vortac.

We are experiencing...

(PAUSE)

Severe technical problems here.

100 INT. VARIOUS CIRCLING AIRCRAFT - COCKPITS - INTERCUT 100

As CONCERNED CREWS in each listen to:

TRUDEAU(CONT'D)

Our NAV and Approach systems are

down and we expect to lose voice in

another minute. We want you to

continue holding at the outer marker

as directed and wait for further

instructions. As - as soon as we're

back on line we'll expedite your

landings on a.fuel emergency basis.

Good luck...

(PAUSE)

God bless.

He turns to a tech, face ashen.

TRUDEAU:

Okay. Change the boards.

CUT TO:

101 INT. DULLES - MAIN TERMINAL - NIGHT 101

ANGLE ON a bank of ARRIVAL MONITORS. Already a quarter of the

planes are DELAYED by weather; but now, in a domino like

PATTERN, all the remaining FLIGHT DATA changes to DELAYED.

CAMERA ADJUSTS to show PEOPLE REACTING with frustration and

concern.

CUT TO:

102 INT. DULLES BASEMENT 102

Pretty dark and creepy for a place only 25 years old. A

FLASHLIGHT BEAM PANS THE LENS. We SEE the two lobby guards as

they search the basement. They move AWAY from the CAMERA.

Pause.

CONTINUED:

41

(X)

102 CONTINUED - 102

McClane APPEARS in the gloom close to CAMERA, clothes now a

little greasy and dirty from his little escape.

MCCLANE:

(sotto, to himself)

I don't believe this... another

f***ing elevator... another f***ing

basement... why does this always

happen to me?

He moves through the cavernous maze, and then REACTS to MUSIC.

Moves towards it. And arrives in -

103 AN ... APARTMENT 103

Or something like it: Here, in an area reached only my somebody

with a groundhog in his ancestry, is a space with some battered

chairs, a 3-legged card table, a cot made up with faded but neat

covers, some 50's vintage.(but lovingly scotch taped) PIN UPS,

and a tiny kitchen precariously propped up on a big purple

plumbling valve on the wall.

104 ON A PHONOGRAPH 104

The SOURCE of.the music, a 78 SPINNING on the old machine.

McClane's HAND picks it up and we WIDEN as he looks at it

curiously.

A HAND reaches for McClane's shoulder.

105 NEW ANGLE 105

McClane's instincts take over; in a flash, he WHIRLS and his

would be attacker is pinned against a wall. It's a wizened MAN

in his 60's who now raises his hands to show he ain't looking

for trouble.

MCCLANE:

Who the f*** are you?

In response, the man points to the NAMETAG on his coveralls.

MAN (MARVIN)

Marvin, I'm Marvin. Thought you was

tryin' to steal my records, that's

all.

He moves to them, possessively.

MARVIN(CONT'D)

They're valuble, you know. Me, I

like those old 78's. Won't find me

switching like everybody else to these

new fangled 45's.

CONTINUED:

42

(X)

105 CONTINUED - 105

McClane reacts to that, peers at him.

MCCLANE:

You're what, the janitor?

MARVIN:

Damn straight. Janitor, and proud

of it. Don't need any of this new

fangled custodial engineer crap.

Just do my job and screw the fancy

talk. You know, you're not supposed

to be down here.

MCCLANE:

(LOOKING AROUND)

Yeah. Just like you're not supposed

to be living here.

MARVIN:

W-who said I was living here?

McClane shows his badge.

MCCLANE:

Come on, Marvin. I wasn't born

yesterday. Carmine Lorenzo know you

don't go home after you punch out?

MARVIN:

L-Lorenzo? C-come on, officer, I

can barely get by, even with my

pension. You know, I'm a vet, WW

2? If it wasn't for guys like me,

you kids' be eatin' sushi today.

I'm just trying to. save a few. bucks

-I could. get fired if you tell.

McClane moves over to a big panel with telephone lines and jacks.

Examines it as he speaks.

MCCLANE:

I'm a veteran myself, Marvin. And

a married one. You married?

MARVIN:

Six times.

MCCLANE:

My wife may be in some trouble

upstairs. I gotta find out. This

set up of yours? I won't tell a

soul... provided you patch me into

this panel, 'let me eavesdrop on the

tower. What do you say?

CONTINUED.

43

(X)

105 CONTINUED - (2) 105

MARVIN:

You a cop or a lawyer?

CUT TO:

106 INT. AIRPORT POLICE OFFICE - NIGHT 106

There hasn't been this much activity here since Gorbachov dropped

in. FIVE SWAT OFFICERS check gear, leave the office at

Lorenzo's signal -

LORENZO:

Rate this script:3.3 / 3 votes

Steven E. de Souza

Steven Edward de Souza (born November 17, 1947) is an American producer, director and screenwriter. He is among a handful of screenwriters whose films have earned over US$2 billion at the worldwide box office. more…

All Steven E. de Souza scripts | Steven E. de Souza Scripts

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Submitted on July 17, 2016

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