Die Hard 2 Page #2

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
1,919 Views


7 HIS HUER CHRONOMETER

BEEPS an alarm -

8 BACK TO SCENE 8

The man uncoils. Composes himself. Goes to the closet.

NEWSCASTER(CONT'D)

But mounting evidence that Esperanza's

forces violated the neutrality of

neighboring countries made Congress

withhold funds-funds which Esperanza

I s accused of replacing by going into

the'lucrative business of cocaine

smuggling.

,.One topcoat, one suit there, shirt and tie laid out like a

costume not usually worn. On the shelf above, one PACKAGE in

DISTINCTIVE CHRISTTMAS WRAP.

Stewart puts on the shirt. In the pocket is a PEN - the same pen

we just saw on TV. If we haven't realized it yet, we realize it

now; t s is the same man.91

Suddenly Stuart WHIRLS like a GUNFIGHTER. But all he's got in

his hand is the remote control, snatched from the nightstand.

9 TV 9

CONTINUED:

5

(X)

9 CONTINUED - 9

Q:

It clicks OFF -

CUT TO:

10 INT. AIRPORT MOTEL - CORRIDOR - DAY 10

CLOSE on the hallway door as Stuart COMES OUT, the package in

i his hand, the Huer ticking away. We WIDEN, TRUCK with him as

he moves down the corridor.

And now we SEE THEM - ten more TALL, HARD men, all coming into

the hallway from their adjoining rooms within seconds of each

other, all carrying SIMILAR GIFT WRAPPED PACKAGES.

They get into two adjoining. elevators, the stark LIGHTS above

their heads and their unmoving expressions making them look like

Aliens ready to beam up. As the doors CLOSE we

CUT TO:

11 INT. TERMINAL - DAY 11

McClane SQUEEZES past an enormous WOMAN exiting a phone booth

with a PRESENT as big as she is. Catching his breath, he drops

his quarter, dials.

12 12

aru OMITTED thru

13 13

CUT TO:

14 INT. A JETLINER - INTERCUT 14

HOLLY MCCLANE is here, AirPhone at her ear and a beautiful

SUNSET over the plane's wing visible through the nearby window.

With the Compaq portable computer, filofax and calculator piled

on it, Holly'.s seat back table looks like a traveling office.

MCCLANE:

Hello. This is Lieutenant McClane

- Somebody there beep me?

HOLLY:

I'd like to think I'm somebody.

MCCLANE:

Holly! Did you land?

HOLLY:

John, wake up. It's the nineties.

Microchips, microwaves, faxes and

airphones.

MCCLANE:

As far as I'm concerned, progress

peaked with the frozen pizza.

CONTINUED:

6

(X)

14 CONTINUED - 14

HOLLY:

We're going to land about thirty

minutes late, I wanted you to know.

Kids okay?

MCCLANE:

Just speeding on sugar, thanks to

your parents. I really appreciate

you coming a day late, honey. Nothing

I like better than a weekend with

the Munsters.

I:

HOLLY:

Mom give you any trouble about

borrowing her new car?

J:

MCCLANE:

(CAREFULLY)

No... not yet. Uh...how 'bout if

when you land, we don't drive over

the river and through the woods to

Grandma's house, but check into the

Airport motel?

HOLLY:

You're on, Lieutenant.

They both hang up. The OLDER WOMAN beside Holly smiles at her.

OLDER WOMAN:

Isn't technology wonderful?

HOLLY:

My husband doesn't think so.

OLDER WOMAN:

Well, I do. I used to carry around

those awful mace things -

She opens her purse and displays a Taser stun gun.

OLDER WOMAN(cont'd)

(SHOWING IT)

Now I zap any bastard who screws with

me. I tried it on my little dog,

poor thing, limped for a week.

As Holly tries to smile politely, we

CUT TO:

15 MCCLANE 15

Coming out of the phone booth and almost COLLIDING with -

7

(X)

16 NEW ANGLE 16

Colonel Stuart.

STUART:

Excuse me -

Pause as they dance away from each other. Then -

I MCCLANE:

--do I know you?

STUART:

R (TIGHTLY)

I... get that a lot. I've... been

on TV.

J:

MCCLANE:

You and me both, pal. The hell with

it.

Now it's Stuart's turn to look at McClane oddly; then he moves

off. McClane looks after him, trying to place him... shrugs...

heads for the bar.

CUT TO:

17 A LITTLE SEMI-RURAL CHURCH - NEAR THE AIRPORT 17

Charming until the SUB WOOFER ROAR of a big jet SCREAMS by,

practically in the little church's backyard.

Now we notice that the church is a little run down - trim needing

paint, sidewalk cracked - and a neat SIGN confirms our

SUSPICIONS:

"FUTURE SITE OF PARISH DAY CARE CENTER.

WORSHIP WITH US AT OUR NEW CHURCH,

52 KENSINGTON ROAD, ALEXANDRIA, VIRGINIA."

A DWP VAN pulls up, snow tires CRUNCHING on the driveway here.

Two MEN (BAKER and THOMPSON) get out in official DWP wardrobe.

But we remember the trim bodies, trimmer hair... and we remember

those gift wrapped packages, - which one of these guys carries.

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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