Die Hard 2 Page #14

AIRPORT COP:

Hey! Put that back on!

No reaction. The cop runs forward.

CONTINUED:

47

(X)

117 CONTINUED - 117

FL:

SWAT COP(cont'd)

HEY! A**HOLE! What do I look like

to you?

The man TURNS. It's REI , one of the ones who killed the

real painters. He ha a GUN.

% O R�7lLLY

A sitting dunk-. --�

He SHOOTS him.

118 WIDER 118

The other three "workers" turn, and now we SEE that they are

,H S ELDQN, HS OCKLEY and MULKEY - Stuart's soldiers all.

119 BARNES AND OTHER COPS 119

As bullets RAKE the slidewalk and PING off its walls, they JUMP

over the railing & take cover-another COP KILLED on the move.

120 BARNES 120

is CUT badly on the arm by flying GLASS - he CRINGES behind a

dumpster while the three remaining cops EXCHANGE FIRE with the

four soldiers. BULLETS hit near his metal case. He takes a

77 deep breath - rescues it!

CUT TO:

121 MCCLANE 121

in the TUNNELS, he tosses off his sweater into the darkness.

Underneath, his shirt is already sweat-stained.

And then he HEARS the gunfire - it's close! He gets his bearings

-LUNGES through a wall of STEAM -

CUT TO:

122 THE ANNEX GALLERY 122

a third airport.cop DIES. His partner KILLS the gunman

(SJ1oi k1E.y) who took out his friend, and then he's KILLED

himself. The last SWAT cop breaks cover and gets CUT DOWN.

Sudden SILENCE.

Barnes suddenl alizes he's all alone. FOOTSTEPS approach him.

He looks up. ulke is ri ht above him -

123 WIDE 123

Suddenly a VENTILATION GRATE by Mulke ' head KICKS OUT, sending

the guy sprawling. McClane JUMP own, FIRING!

CONTINUED:

48

123 CONTINUED - 123

Mu ey has caught the damn thing on reflex, and now he TWITCHES

bacTcwards, the bullets SPARKING off the grate before they drill

through him.

McClane ROLLS, FIRES a 'Reilly across the gallery, who takes (X)

COVER. Then BULLETS hit all around McClane; he SEES

124 S ELDON-- ABOVE HIM ON SCAFFOLD 124

FIRING DOWN -

125 BACK TO SCENE 125

McClane FIRES UPWARDS, and then VEERING, he RUNS UNDER the

SCAFFOLDING - BULLETS PING off the metal behind him as a'Ae l

tries to nail him from ground level - meanwhile (X)

126 UP ABOVE 126

Shelf tries to SHOOT DOWN and UNDER. (X)

127 MCCLANE 127

deliberately SMASHES into the cross bars he passes, one after

another, the SMACK of his body into them sounding like

linebackers in combat -

128 SHELDON 128

AIMS - but then the half of the SCAFFOLDING beneath him GIVES

WAY. He FALLS, SCREAMING - LANDS with a CRUNCH beside Barnes-

129 MCCLANE 129

has a moment of satisfaction - then

MCCLANE:

Oh, f***

130 WIDER - SLO MO 130

He RUNS and DIVES SIDEWAYS as the rest of the scaffolding falls

towards him, paint and glue and ha f the mural's tile grid coming

down witWi t !

131 MCCLANE 131

lands, HARD, the plywood boards from the top of the scaffold

SWEEPING him off his feet - his gun SKITTERS across the linoleum

towards the far end of the slidewalk - he rolls over and SEES

49

(X)

SIX FEET AWAY 132

he, too, has ducked the falling scaffold, but he's already on his

feet, already bending to grab his dropped MAC 10 rom the

slidewalk - bringing it up - AIMING -

133 BACK TO SCENE 133

McClane SPINS on the floor and SLAMS the nearest piece of the

metal scaffold into the OPEN SLIDEWALK ELECTRONICS.

It SHORTS OUT SPECTACULARLY and THEN -

133A FAR END OF SLIDEWALK 133A

it WHIRRS into HIGH GEAR, TREAD SHREDDING -

I:

134 BACK TO SCENE 134

the slidewalk in OVERDRIVE, O'Reilly is FLUNG right over

McClane's HEAD.

135 NEW ANGLE 135

He SLAMS into the wall at the end of the walkway HEADFIRST.

There's a sickening CRACK as his neck goes and then he TWITCHES

and slides to the floor, a SMEAR of blood on the slick wall.

77

136 BACK TO SCENE 136

McClane takes a long overdue breath. Then he picks up his

4 pistol, checks the'bodies to make sure there's no surprises,

and, goes over to Barnes.

MCCLANE:

You okay?.

BARNES:

(SHAKILY)

The antenna array -

'Both look ,at it - and then

137 WIDE 137

The antenna array outside BLOWS UP, pieces SHATTERING the glass

window. McClane and Barnes DUCK, but they're too far away to be

damanged.

MCCLANE:

(SLOWLY STANDING)

Bait. Something to jerk you off,

make Lorenzo sacrifice his best men,

and make you waste time.

(MORE)

CONTINUED:

50

137 CONTINUED - 137

MCCLANE (CONT'D)

Time you don't have...

(LOOKING SKYWARD)

Time they don't have. (X)

CUT TO:

138 INT. HOLLY'S PLANE - IN FLIGHT 138

Thornberg, on an inside aisle seat, glances out the window. Sees

something. Releases his seat belt. And goes over to the glass,

pressing' .his nose against it like a kid in a candy store.

139 HIS POV 139

LIGHTS in the sky: Other airplanes.

140 WIDER 140

Holly looks at him. She can't help not looking at him; he's

practically in her lap.

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