DIE HARD 4.0 by Mark Bomback Current revisions by Doug Richardson RD LOVETT JUNE RI HTS\RESERVED. COPYRIGHT ©2005 TWENTIETH CENTURY FOX FILM ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT. --, UNASNOO NALLIMA SXOd not n@ uvordna ON."XOd XYNUNGO HISLINEM RS { EQOOOME mpl Doug. Richardson DENG CAMAa tiny space. Just a toilet ani a sink. (B.C.) OWEN, who carefully places |s/1ighter oC a plume of smoke and - ALARMS SOUND! Shit. What He'd just dismantled the smoke detector! e bo out. P.C. OWEN Oh my God. (a onben CREEK NUCLEAR POWER FACILITY - DAY dD P.C. Owen bounds down an industrial STAIRWELL lit by emergency lights. He bursts through a heavy door Cae (ONS DECK. Here, the NUCLEAR CREW scr: P.C. OWEN What's gone wrong? CREW CHIEF We've lost power. ae P.C. OWEN How can we lose power? We make the Goddamn power - cc DECK SUPER - We got power! We just can't move it! ‘There's a virus in the voltage regulators. It's telling them not to release - CORE ADMIN. - Got a kilowatt surge. unless’ we move that juice, we're gonna ~ CREW CHIEF ~ MANUAL POWER DOWN! ALL HANDS MOVE! ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT. ©INT. MONTAGE.- QUICK SHOTS - DAY of, WORKERS rush into the TURBINE BUILD: throwing. power-diverting switches. In the RE joks like rehearsed chaos, begin winding b iting the cooling water and manually work! that remove the cooling rods. Ciosk 4 B.C. OWEN'S SWEATY FACE Inside {that protective mask. In the mask's thi xeflection of the nuclear rods as’ they’ the core. ~ OYSTER CREEK NUCLEAR POWER FACILITY - SUNS! Zippo lighter again. Only this time, P.C. a closed door. +- (CENT) SITUATION ROOM - DES - NIGHT ‘tronic door buzzes and wa meet that man| boots - Homeland Security DEPUTY DIRE! oses himself; we reveal this huge root the best tech the government can buy for th CHIEF THOMPSON : ~<$-taik, dtawling Texan. DEPUTY WIGAND [————] where we at? [ CHIEF THOMPSON Eleven plants total. All went dark. All at the same precise moment. DEPUTY WIGAND A coordinated attack? Suspects? CHIEF THOMPSON [OTT] cot pve nen. Gp vet? SYSTEMS OPERATOR oO Karen Rooney on Com 2. ors TWENTIETH CENTURY FOX. NO DUPLICASN WITHOUT FOX'S WRITTEN CONSENT.uu S SWIVEL TO -.A LARGE SCREEN D Dl meet ROONEY, thirty years old,. blac! |__| take-no-prisoners attitude. ROONEY (ON SCREEN) The Digital Emergency Response Team is still working over the lines of code. As for names, it's the seme buncha male “unusuals." The most interesting is John J. McClane. DEPUTY _WIGAND Says he's in the clink. ROONEY jampson and Deputy Wigand look at names CLOSER INSPECTION REVEALS the file on: Federal Pen in Maryland. He. hits. the streets tomorrow. CHIEF THOMPSON Okay. I don't care where they are, what they're doing. damn one of ‘em. MARYLAND DETENTION FACILITY G ~ NIGHT PRISON GUARD, an old school officer, lock rounds. ‘He slowly crawls the stai LAST SHIFT GUARD How's the prostate, Phil? We pick up every PHIL THE PRISON GUARD Big as a cantaloupe. Your day'll come, You just wait. cell doors, each of ‘them dark but for the faint TV PEIL THE PRISON GUARD ( McClane. No The TV flicker —< BIRD GANGHAY IghES £1 that comes from CELL 3-F. Phil raps on Hey. The famous John TV after lights out. SPEED-SWIVELS TO REVEAL > lying on the single cot. CS ts this isn't the John McClane we know. , twenty~two-year-old version named JACK (ao @ growl. di "D) ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.JACK G It's the news, man. Gotta know what kinda world I'm going back to. PHIL THE PRISON GUARD O Won't mattex what you learn. You'll be back soon enough. 3s reaches over and flicks off the small TV.\ He wait 1 the Prison Guard to move on before reach: foss ning the TV back on. SCREEN NEWS ANCHOR +. A spokesman for the Oyster Creek Nuclear Power facility reports tonight's meltdown scare was nothing more than a. digital snafu. And that no New Jersey residents were in actual a danger. Oddly, we've received additional reports that same digital "snafu" was concurrent with similar events at most Eastern seaboard nuclear plants. SE ON - JACK G Ons t-ass veneer of Jack G is peeled away to ‘a L__ n who's very, very concerned. TH. pubnooe - saat) WALK-UP APARMOMY — NxGHY ark for the sliver of light from the bathxdom) 7 reat dim face of this old, analog alarm clock.| When nd hand sweeps, we hear a warbling, deathly buzz. A ds the clock, shutting off. the annoying lopg pause, audible sigh, then at last the famifiar voice lof MCCLANE +++ What the hell, John, aging football star, McClane swings his fegs off ind stretches, setting off a series of NER' [eae We see the landscape of McClane's torso. 1, all the times I told you. My name's Sack Gennero. PHIL THE PRISON GUARD le == 111 call you "Aunt Betty" if you J don't turn that shit off. JACK G | (6005 TWENTIETH CENTURY FOX, NO puPLicon WITHOUT FOX'S WRITTEN CONSENT.CLOSE ON ~ MCCLANE'S INDEX FINGER ex-so~briefly traces a 9mm half-moon def is left ear. It's an itch he scratches. More ten shoulder snap and twang as McClane feels around |. Finally, he flicks on the light. BACK WIDE - THE ROOM . A bed, no TV. Just clothes and books Jacked on the floor. McClane squints as he re ike a pack of cigarettes, only it's a pay Clane pops a double wad and starts chewhi at's not enough, he reaches into a drawer IKCOTINE PATCH which he slaps on his sho MCCLANE (CONT'D) One day at a time. \LTTMORE/WASHINGTON INTERNATIONAL AIRPORT 7-DKi EstabJAshing this bluebird day. On the screen _—_I | DAY 1 (ea CAR COUNTER - BALTIMORE/WASHINGTON INTERNATION (aera ae It's $yst John McClane and a FEMALE CLERK. The| ou is between them. Oo FEMALE CLERK I'm sorry, Mr. McClane. I can't rent, you a car. “Fagin turns. Outside are xows upon rows of shiny, new WY foljbw McClane ‘as he pushes out of the EXIT door — MCCLANE C'mon, Jack.” (then...) A cup of coffee! B tke G won't have any of his father, trottin 5 g lot and quickly cligbing the stairs to the (CT RtEvarep RAIL PLATFORM. Be ON - MCCLANE’ kick himself... MCCLANE (CONT'D) Way to go, old man. e (05 TWENTIETH CENTURY FOX. NO puPticAMibn WITHOUT FOX'S WRITTEN CONSENT. ns swing in front of the prison. Pass: out step three obvious FEDS. McClane on Sas they hurry past him. McClane hear} this snija FED #2 How the hell can we be late? Every Goddamn light was green. CUT TO | A GOVERNMENT SEDAN aE suddenly appears at the open wi: —_—a MCCLANE Go: Hey, man. Cabs are on strike. Could ya gimme a lift - Driver answers by hitting the automatic "Ss POV Jrax's computer screen is a PICTURE and R jack G.| CLOSER STILL reveals the orders to: "P: DETAIN." McClane straightens, shifts his sight » the elevated rail platform. SWISH PAN to down the tracks ese is arriving. MCCLANE (CONT'D) od ++ Here we go. (CimrecRELeAsE Room - MARYLAND DETENTION FACILITY aft. Instead, he pops another Nicorette tab,an release Officer is giving an answer to the Feds. rl = - FED #2 ~) } - Yeah, funny. McClane clocks them - and they clock McClane bt erdsging — ito ison entrance... If McClane had a cigarette, hea (x cture, © ~ DAY, PRE-RELEASE OFFICER = C You guys just missed him. Left with his daddy. [Fed Fe pets on his radio. ~ mf._D.E.R.T, TRAILER RIG - DAY ra wall electronics ~ like the inside of a (into radio) John McClane Senior. Retired NYPD. (MORE) (ae lspy_plane! We, @ young fed named BEEBOCK. He's alone at the helm _ of ter station. On one screen he's pulled ssier Cane. BEEBOCK OX) (con: ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.1 BEEBOCK (CONT'D) ~ Current home address St. Petersburg, oo Sa betes fe aera Baltimore just this morning. | cuts and pastes McClane's photos into al a FACE-CAPTURE Program. RAIL PLATFORM ~ DAY charges up the stairs and catches the door to jps inside. SPI POV SHOT pushes to the next car, then the next. @ glimpse of Jack G through the window/} He doesn't make McClane. Then... ‘YOUNG BOY Hey. Lookit Mommy! ~ sex ¢ aD cota Cc) Ay they look out on the streets spreading out below the Cet fed rail. One boulevard after the other, idlo. i irs going nowhere because... YOUNG MOTHER All the lights are - < YOUNG BOY - Green! . HMDEN STATION - CENTRAL BALTIMORE - DAY 0. en, emptying a load of COMMUTERS. Jack|G steps off in.’ McClane is nearly Jast, but expert be: his son. The train pulls out to xeveal THE BALTIMORE (ON CENTER. CKETING - BALTIMORE CONVENTION CENTER - js turn at one of the two ticket kiosks. works the booth. 3 WITHOUT FOX'S WRITTEN CONSENT. amps TWENTIETH CENTURY FOX. NO DUPLICA @7 JACK G ® E Ticket. REDHEAD Code. please? eae) ance 6 Something about the way your - the hair! Very Scully, right? Third | season after the two suns - REDHEAD - You think? I tried it.a little ~ 5 distracted, Jack G reaches across and, anded pianist. The Redhead looks at her Jack G has been admitted. Stepping up to the other ticket kiosk. D by a PIERCED MAN with heavy glasses. ‘MCCLANE co How much for the electronics show? PIERCED MAN | Show's sold out. Got the gun show - Oa MCCEANE - I need to get in there, C'mon. Man looks past McClane - no one else in| up five fingers to his chest and mouth! when McClane notices the security camera| houlder. So McClane nods as if he under ocket with one hand while motioning for [to “Ieaq closer. MCCLANE (CONT'D) . The Hula Hoop. Hurt when they put it in? Man can barely nod when McClane grabs a tached to the ticket seller's lips. » MCCLANE (CONT'D) Imagine how much it's gonna hurt comin‘ out. (cont: le hy the ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.je £9111 reveal ters, McClane slips a hundred dollar bill into Pierced! |_Faer, arerom - panrmons: couventzoN CENTER ~ DAY The Eurhstile buzzes and McClane pushes. through, bounds up the escalator, following the the... ISUMER ELECTRONICS SHOW (C.E.S.) - DAY McClane into this five acre hall, CRAN; space is slammed with thousands of S¥ ; net. to mention electronics -- audio, cellular -- Massive TV and computer +. on a circular stage, the Baltimore xs grind out a routine for appreciative RHPS e hell to start looking for Jack G? .IPSE ELECTRONICS BOOTH - C.E.S. - DAY ickly browses the latest laptops. At appears to have picked out the Ferrar: ECLIPSE SALES REP Ellipse Centron 5. Pentium 5, 700 Megahertz, Tri-channel to 50 Dimms. Translation? Watch out. She'll bite if you're not careful. (arm ‘around Jack G) Sit down. Give her a ride. Hey, Can this, like, play movies? Play ‘em? ECLIPSE SALES REP I£ you want it'll practically write ‘em for you. {laughs at hig own joke. . Let me get What the... ) you = DvD. : ECLIPSE SALES REP (CONT'D| 12. G sits, lets his fingertips barely {3 JACK G ent the Sales Rep turns his back, Johnny/s fingers arely three keystrokes. with an icon for each computer in the booth. With a ries of clicks, Jack G sends a surge screens at the booth. Snap, snap, snap, & go blank. On screen appear: that t down fall the’ UT FOX'S WRITTEN CONSENT. ABN witHo! eu TWENTIETH CENTURY FOX. NO DUPLI!4 ters, ‘checking the cables. No luck. D ck to.Jack G - only to find Jack G has with that Ferrari of a laptop. Madly, the Sales Rep starts tappirig on’ the keybo: fO- CISCO -S¥STEMS ‘K outer finds the way into Jack Gis bag. | cf 'S ~ MORE BOOTHS Jack G |steals a PDA/cell phone, an iPod... EN AT THE SONY BOOTH , Jack G can't help himself, So he smoothly palys and disappears. ‘A CROWDED AISLE The major thoroughfare inside the crowded:hall, DAStant flow of NAME-TAGGED PATRONS and REPS. se: ines, he's bumped by a HURRIED FEMALE. functory: MCCLANE S'cuse me, (se Bg Female seems to pay McClane no mind patil th same direction and bump again. hyper-sensitive bitch. ROONEY What're you, drunk? Feel your finger: 5 on me again, I'll break ‘em off and =< feed ‘em to you. MéCianel shakes his head, then pushes on into ae he [BEE tps gone, Rooney brings a WRIST-MIC up to ROONEY (CONT'D) Daddy has no weapon, no phone. | ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT. PANZARELLA (OVER RADIO) What kind of asshole comes to an Electronics Show and doesn't even own a cell phone? [FOV SHOP - SHROUGH ELECEHONTC BINOCULARS £ollqwil a in the xafters, we meet PANZARELLA, ae her specs. [ ae QD (onc face of. the Hurried Female. She puts |on the anpoyed Cr aiNT, CONSUMER ELECTRONICS SHOW. (C.E.S.) - DAY joins up with Rooney. t | a = ROONEY | Local support? j BEEBOCK P.D.-units are assembling. ROONEY (into mic) Let's find Jack McClane and pick him up! J- WIRELESS SECTION G is hunkered down, that stolen laptop prop @pen up so fast it's like a fiteworks dis; e's at an encrypted screen, logging on EN way into trid\and those nuclear power receptors. A 1ii s \building on Jack G's screen. With his £ ans and reads, looking for and finding one pal , cutting and pasting it into a box, whe| ite and re-route it when: Gs screen. The message is from "CHARLIE BROWN: "nice try. \_——nriimstiant message appears like an unexpected bull's~eye on 14, tant message stalis Jack G for a moment. lack G responds with: et * ux the asshole who shuts down nuke BROWN: “couldn't have done it without o — ts (writing as he talks) “how ~ did - u - get ~ my ~ codes?" gan x: “who x a?" : BROWN: "un don't know?" CL) ~~ TWENTIETH CENTURY FOX, NO DUPLICA oe WITHOUT FOX'S WRITTEN CONSENT.INSERT - QUICK SHOTS and Rooney separately searching for Jac! PD COPS assembling at every entrance to the hal: LBAGK-#O JACK G CHARETR BROWN. "cu when the lights go out.” Cyrroe) sabes - DIFFERENT ANGLES OF SHE ELECTRON ve; show? Ei ‘And the Bre IE] BROWN: “u should b happy. i only want instant message conversation he's having) 15. x: "just got out of jail. all i want iT de and legal.” BROWN: "i want 2 bring it all down.” gan x: "Gai't b done." BROWN: hd stop me? JACK G (CONT'D) Shit. Already knows where I am? reen, monitor, and electronic display g cisely the same moment. Even Jack G's laptop\ has biai Con ‘Gomes a word scroll across every single scr PENS WHEN ALL THE LIGHTS GO GREEN?" (ee Ene ~ PATRONS AND SALES REPS tunned or amused at what first appears [[-StiE-7] There's even some scattered APPLAUSE. awe, KINKO'S COPY SHOP - BALTIMORE ~ DAY an pee computer screens in here have blanked, cryptic message scrolls: PENS WHEN YOU ARE NO LONGER INSURED?” » = QUICK SHOTS - VARIOUS ~ DAY Qa |___xs—the-messages appear on computer and TV screeqs ‘btco, George Washington U's library, etc (cont, if it can't B done, why ru violgting payole TE] BROWN: “btw. how is the consumer elect: Cd pe fed. to bp 4 techno- Pa I ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.16. “WHAT HAPPENS. WHEN THE FOOD RUNS OUT?” paola es CUSTOMERS with laptops, hooked in via Wi-Fi, al) se the scroll, lattes frozen near their 1i; caus [waar HAPPENS WHEN THE WATER RUWS DRY?* : ISUMER ELECTRONICS SHOW (C.E.S.) ~ DAT ‘lane is staring at those monitors scrolling [septic messages. =— Mcctaite (Bate ay Sack. World speed xecord. for fucking up. ep) om She_tatks into her wrist mic. ROONEY Move in NOW! CUT TO ~ BALTIMORE PD Cama pate the floor.” ALL looking for ~ joard is locked up. His screen scrolis agé a5 every screen in the hall. Helplessly) he looks airt“yees those Baltimore Cops moving in. ~ THE ELECTRONICS SHOW CROWD as he catches a glimpse of Jack G cutting oe €ticl McClane starts weaving through the “ NO DUPLICA@QN WITHOUT FOX'S WRITTEN CONSENT. gepos TWENTIETH CENTURY FOX.17s > Up_IN THE RAFTERS - PANZARELLA through those electronic binoculars. |_| moving through the streaming crowd. PANZARELLA. Got him! Wireless section, heading for Home Theater - wait a minute! zdrella tilts her POV up to catch sight of McCJa ol1dsifn course with Jack G. PANZARELLA {CONT'D) Yarget appears to be heading for a family reunion. Fifty feet ~ thirty ten — : 6 suddenly demolished, he shoulders thro find himself£ snagged and spun around by MCCLANE Happy to see me? JACK G sss The hell? Why are you here? MCCLANE Look who's talking! Now what kind of stupid are you into? anks his arm from his father's grasp. sees a BALTIMORE COP. The cop's emexgii elbow shot across the Cop's neck leaves ‘Neclane in ‘Oljof the gun. ~Rodvat_appEars pistol out and closing on McClane. [. ROONEY PUT THE GUN DOWN! ‘MCCLANE YOU PUT THE GUN DOWN! — roouer ass Okay. (Yale Penh ccm (conrT ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT,18, HCCLANE, -Setenoulsty fixes, EAM SRM int! Rooney 49 exil by the bullets and hits the floor. - ScREAMS Goddammit! STIMORE CONVENTION CENTER ~ DAY ng oUt of the parking structure with Ml ing a tram, and turning underneath jot a jog. These two men are running flbt TRAFFIC - DAY The-tighfts are no longer green. Instead, they’ ‘3 tieans more gridlocked cars with COPS direct traffic. AND, COME JACK G AND MCCIANE rac en't dodge the cars. He runs right ov oof, roof, trunk. DRIVERS SHOUT. McClane provbs not as nimble, pounding from one car then crashing and another, rolling off and continuing MCCLANE (between breaths) Still - chasing ~ my own ~ KID! (sae Sp continues, with McClane sucking hard ct younger Jack G. NO pupicA@@y WITHOUT FOX'S WRITTEN CONSENT. #MBO0S TWENTIETH CENTURY FOX.SHOPPING DISTRICT L_Jstalled traffic. McClane is no match for Jack G ground_with every wheeze. At last, standing on ]aturn, McClane shouts a loud, but winded. MCCLANE (CONT'D) +++ PINE! THAT'S IT, I'M DONE! fith-thak, McClane throws up a hand: He's got nd Jufgs ext. MCCLANE (CONT'D) <++ RUN ME DOWN TILL I GOT NOTHIN' LEFT TO GIVE. PTY YARDS AHEAD £}sh who's been hooked, Jack G stops and spd JACK G GIVE? WHAT DID YOU EVER GIVE ME? , the SATURN DRIVER is out of his car. SATURN DRIVER Get off my car! MCCLANE Talkin' to my kid, here! 0) I JACK G LEAVE ME ALONE, OLD MAN. YOU GOT NOTHIN' I WANT! MCCLANE KNOW WHAT I GOT? I GOT FIFTY BUCKS THAT SAYS. YOU GET CLIPPED BY SUNDOWN! NK ENLY| - ALARMS SOUND in Drivers step from their cars to see what 2 clamo} ip. D er lls. nose smd people with mat the faces. (CONTINUED) ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT,20. [CK SHOTS - MORE DOWNTOWN STREETS ee aches, different zip code. An obnoxious symp ear-splitting alarms. > MCCLANE AND JACK G Where Jack G tries to shout over the noise. JACK G NOT GOIN' BACK TO SAIL ane can't hear him. Instead, be cups h: ear and starts walking toward his son. Onl; as, kicks off a car bumper and scars Uching a passing - is and angry, he watches Jack 6 ride away trolley. | Suddenly, McClane finds his feet swept 6 underneath him. Slam! He hits the hood of the car hard. MCCLANE Cc. Alright, pal, I'm gettin’ off your caste i) (@piyet holes in her shirt. She's used a shotgun be sweep McClane‘s feet out from underneath him. ROONEY Warned you. —< with] the butt end of the rifle, she smacks McCidne[hard across—~the face. 5 ‘EXT. HEL[COPTER SHOT - OVER BALTIMORE ~ SUNSET IKIP-FRAMES as if it's sucked underneath the horizon. 5 TWENTIETH CENTURY FOX, NO DUPLICA @ WITHOUT FOX'S WRITTEN CONSENT. 0 STATION ~ SUBURBAN INTERSECTION - NIGH) am! thunk - the fuel stops flowing. The yumping. Annoyed, the Stucco man pounds2. SWISH PAN TO - ANOTHER PUMP Dd [Where-e/WOMAN .IN BUSINESS attire is having tro LJ tne pump to accept her credit card. she tries [ [omty te have it declined. JS STUCCO MAN grily pushes through the doors to the ——— Siucco | X gave you fifty dollars cash and the pump stopped at ~ MINI-MART MAN - I'm trying, okay? Nothing's working. Everything just stopped - CARGO TRUCK ~ NIGHT ness. We're TIGHT ON MCCLANE, propped in a corner, los ickling from his right ear, and dirtied fiead-to-to ‘rom tussle and chase. When-the rear doors bpen McClaje's -s¥aj slam shut from a blast of headlights. teps. Foot} Thgn: PANZARELLA (0.S.) [7] can't believe that's really hin. BEEBOCK (0.S.) Sure it's him. What were you expecting? PANZARELLA (0.8.) Like more hair for starters. D _tecmes soup pov Lu Aa his-fpeus returns. Seated on spools of fiber le i a e a of the cargo truck are Beebock, Panzarella, B00 (CONTINUED) ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.22. ¥_APPEARS okingpissed, she wears a thin, bulletprp with three,.center-cut imprints. Beebock offer: BEEBOCK Boy. Have him sign your vest. Not many can prove they got shot by the bee famous John ‘McClane, PANZARELLA Least none that lived. e suddenly sniffs the air, feigns a foul ofd > wccuatis (off their looks) Smells like asshole to me. ROONEY Uncuff him. C'mon, move! EXT. STRIAL PARKING LOT ~ NIGHT satellite truck, and that cargo truck from which escorted by Rooney, Beebock, and Panzarella. 2K.R.T. - TRAILER RIG - NIGHT mobile, techno~marvel retrofit with mil es and stacks of indecipherable elect: We follow McClane as he's pushed to th er. There we find a mapping table wherd JACK G =I C I asked to see my Goddamn lawyer! ROONEY Next best thing, family. And the advice is always free. Co ack Suike he's going to say something I wanna hear. You can blow me. ROONEY Maybe dad's got something to say to me. McClane [s seated opposite Jack G and handcuffed oney Seats herself between them, then addresse: fe) MANOS TWENTIETH CENTURY FOX. NO pupLic Abn WITHOUT FOX'S WRITTEN CONSENT.ROONEY (CONT'D) I'll get xight to it. Who's, your gon working with? And what's your part in all of this?, MCCLANE All of what? MCCLANE - The day he gets out, you're gonna roll him up over some blown fuses? ROONEY Lifelines, Mr. McClane. Lifelines to a nervous, digitally dependent nation. (on her fingers) Transportation, insurance and finance, food and water, emergency services, telecommunications, ard energy: D) LOW MCCLANE "amily values." ‘Think you forgot that one - BEEBOCK - Everybody's here. (a) ae ROONEY Put ‘em up. 4 ridgo Heder nt face - one woman and four men. i ROONEY , (CONT'D) Meet John McClane, Versions 1.0 and 2.0. (turning) : On Com 1 thru 5 we've got Deputy Director Wigand from DHS, Lee Stolz from Justice, Mary Glover from NSA, our civilian contractor Greg Pope, and from the White House Assistant Security Advisor Paul Neesen. [goth stechane and gack G clock the faces on scree 1d wall McClane faces comes to life with|vertical ens ~ five conferencing modules, each ¥ith a Rooney | introduces e oa te (Sor Greg Pope, who appears to be in a nga 23. ROONEY U u Since your son's xelease, we've logged mass insurance failures, interruptions in transportation, a gasoline crisis -| 9 o —! am (CONTINUED) ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.I U 24a. ROONEY [CONT'D) Two years ago, “Junior” began serving a sentence for stealing and publisl seoure government files. In doing 80, he left digital fingerprints ~ + complex lines of code unique to him, D.E.R.T.'s uncovered those same “Zingerprints" in the digital attacks we've suffered today. JACK G Wasn't me. AAR) LOWE McC. ROONEY. The electronics show. You were plugged and playing with a friend. Who was he and was it the 3 Day Game? GLOVER (ON SCREEN) I'm sorry. A “game?" ROONEY Not a game anymore. More like a blueprint for destruction, evolved from an internet blog for’ super~ hackers. ‘hey posed a theory that in three days, a handful of hackers could crash all our technology, send Imerica back to the Stone Age. STOLZ (ON SCREEN) Why three days? ROONEY It has to do with response time. The bloggers calculated exactly how fast the authorities could react. Keep it under three days, the hacker could. theoretically destroy the system| faster than it-could defend itself. MCCLANE Wate to the be the dick, but - JACK G ~ Xou? Hate to be the dick? ‘misses Jack G with a glance, then. MCCLANE, What happened to all those billions we spent on homeland security? o fos ong, guilt~laden pause, then... ©2005 TWENTIETH CENTURY FOX. ~ NO DUPLICAgN WITHOUT FOX'S WRITTEN CONSENT.‘ROONEL It's D.E.R.T's opinion that it's too late to stop Day 1. But we think we ean hold them at Day 2 - What happens on Day 3? JACK G =. Day 1 is them just fucking with you. the grids go, so goes America. (>) 2 ‘lane-Staxes at his son, who lets the gravity eT sil i ae POPE (ON TV) co Sree airy | JACK G ~ Day 2? (shaking his head) Hope you're stocking up op batteries because the assholes doing this are already loading Day 3! MCCLANE 25. Shut down the yas pumps, make you ( late for dinner, set off some. alarms. The beginnings of panic. Day 2, ‘the heavy shit starts, banks, Wall Street, crash the lifelines, screw with publit confidence - but it's just a jerk off to get the government chasing it's tail. While you assholes are busy ‘trying to turn the phones and Tvs back on, they're planning to cut the only lifeline that really counts. (turns to McClane) Power. Day 3. The only lifeline left will be electricity and, when JACK G (CONT'D) ~ Day 1, right. JACK G , Charlie Brown. {Of£ everyone's Look) — I don't know who he is. It's just some screen name that popped up when = Roons | < was trying to steal back my codes. He shut me down faster than I could say George Orwell. slaps a list of names in front of Jack ROONEY Think any of these guya covld be Charlie Brown? (conrinveDy—————~" ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT.FOX'S WRITTEN CONSENT.JACK G (quickly scans) : These guys covldn't change my grades. Listen. ‘The Nuke Plant. That was a test to see if he could make Day 3 work, And he pulled it off. So unless you guys wanna look like my old man at a Wu Tang show, you've got 24 hours to disable the power regulators - DEPUTY WIGAND = Manually? Do you have a clue how Jong that would take? Weeks. Months. vhelmed Jack G looks at his father, JACK G See what I wean? ‘Ten steps ahead of The Feds. ROONEY Can you find him? DEPUTY WIGAND (ON SCREEN) = Whoah, hey! For all’ we know, he's. partnered with. this Charlie Brown ~ POPE (ON SCREEN) - Suppose he's correct. Suppose this Charlie Brown is already setting the table for Day 3. Who's got a better idea than to let young McClane JACK G - Sorry. Gotta ask my parole officer. Jack G's not supposed to have fun anymore, RD) LOWE ROONEY ° You might want to reconsider. i directin} his answer across the table. JACK G There was this story my old man used to tell me when I was a kid. (then...) It started with, "Go fuck yourself." CLOSE of ~ MCCLANE TE the ipsult fits... then Beebock interrupts. BEEBOCK Qa - Cap? You might wanna see this. igns considering the offer. Then-turns to : ( ( 9 So A Moe euemars cevtiev cay wa niet ine MR werHonr Faxes WAFTTEN CONSENT21s ROONEY, Feed it. Beebock plugs in the pictures on his monitors. behind McClane are replaced by LIVE HELICOPTER “o Grty-plus FREIGHTERS stacked up outside: : BEEBOCK That's the New York/Jersey. Harbor. Ll Got similar xeports from Nagansett, Delaware, Soo Locks ~ ROONEY - Why the hell can't they port? Co BEEBOCK N.P.A. computers mysteriously flagged each ship as carrying missiles from North Korea. HOP-RITE DRUG STORE ~. DAY ona 1 Leb TV mounted at the CHECK~ t a YOUNG MOM. with her RABY. pile of necessities ~ baby food, formula. CLERK is having trouble with: om _ EXPRESS CLERK Got a credit card? Cuz your ATM card isn't ~ GOLD-PLATED TOOTA {0.8.) - Yo, man, Just want my change back. SWINGS to the NEXT CHECK-OUT COUNTER, with a GOLD-PLATED TOOTH for a centra{ incisor. R manning the check-out is equally flummoxed. MANAGER I know, I know, But I can‘t get the cash drawer... (shouts) Hey, Merv! Can you give this quy his eleven-fifty? My registex's kaput. whe SWINGS to MERVIN over at the PHARMACY PHARMACY MERVIN Mine, too. Whole system's down. (_\ pee Mom's baby starts crying. ©2005 TWENTIETH CENTURY FOX, NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.28. EXT, FEDERAL PRISONER ‘TRANSPORT VAN - NIGHT lane is being cuffed to the bench, Ro herself next to McClane. ples - ‘ROONEY Here's my read. You're retired, you regret not spending time with Junior when he was growing up, so you think you should make up for lost time. Ld Only Jackie Boy's idea of a good time doesn't include a reunion. (then...) I can charge you. 1 can put you away. But we both know you don't give a Goddamn what-happens to you. So here's what I'm banking on. © You care about your son's future.. Either Jack helps us or he goes away for a E> very long time. MCCLANE You're pretty sure of yourself. ROONEY Not at all. But I won't underestimate a parent's instinct to save their child. It's an hour drive to HQ. ~I suggest you and Jack make the most of it. a) wes ‘to the door, gestures, ‘Two FEDS es transport van, shackling him to the oppps\ PORT VAN is cradled by MOTORCYCLE Cops in the lead e DHS UNITS behind, The D.E.R.T. helicopker provides ISPORT VAN - IN MOTION -- TWILIGHT © TRANSPORT DRIVER behind the wheel. A Hl FED ptgun in the passenger seat. TO THE REAR - MCCLANE AND JACK G between them seems wider. MCCLANE I know. End of "life as we know it" and you're stuck with your old man. Must feel so... uncool. JACK G : You don't have a clue how I feel. 5 @ 8 é & = 2 8 & & > 3 x — = — oO Fa a. 2 a 9 2 2s So & > = =e 2 G Cc x = w E 2 z iGw OWE D erenp sr MCCLANE Inicky me. No guilt associations. ‘Course, I'm not an accessory to Armageddon. 2 JACK G You gotta believe I had nothing to do with it. MCCLANE You said the same thing about the fizzies in the Holy Water. = O Hey. You thought that was funny. You laughed ~ MCCLANE + See me laughing now? oks in with his father. McClane's dead JACK G You see me laughing? Shit's serious. It is grim, McClane clocks that Heavy Fed, then G. He nods. Something between them is un MCCLANE - FINE! IF YOU WON'T DO XT MY WAY, THEN CRAWL BACK TO YOUR MOM FOR ALL I CARE! js at once shocked - then gets the drift. JACK G Why's it always gotta be about her? MCCLANE AO Ooch. Jackie loves his Mommy? You wish she coulda picked you up from jail! I got news for you, pal! She [ 7 couldn't handle you! 7 JACK G Know what? She divorced you because she hated you! That's because as a husband and father? ‘You sucked! ly feud going on in the rear of the van. Db) (CONTINUED) ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.30. MCCLANE —___] Mhen'd you get your family therapist license. Between bunky-love and ock-down? Lrack-G—fumes . ‘Zz JACK G Do you have a clue what it was like LL] to grow up as your son? Every teacher, bully - every coach, every girl I wanted to date... They all wanted to find out if I was just a Little bit like you. How could Z ever measure up to-that? Shoulda named me "Sue" instead of John -- John Fuckin' McClane! = MCCLANE Thanks for solving the mystery of ny missing Johny Cash albums. JACK G You're not my father. You're a sperm donor! MCCLANE. ++. /fasy for you to say. (shakes the chains) Otherwise, you'd be too chicken shit JACK G Anytime, old man! RD) LON MCCLANE Oooh? Prison make you tough? saa G| slams a foot into McClane’s bench, forcing the Hea’ HEAVY FED to [ Cool out back there. But McClhne has zeroed in on Jack G. MCCLANE Try it again tough guy. hesitation, Jack G kicks at McClane aga! ee he connects. McClane twists and swing: feet into Jack G's mid-section. Jack G ot, ing McClane in the face. Suddenly it|s a wax bf flying legs - os TWENTIETH CENTURY FOX. NO DUPLICA” QitHour FOX'S WRITTEN CONSENT.31. THE REAVY FED > ls, xushing to the rear of the van. _ - HEAVY FED I, Said knock that shit - Wetiane rocks himself into an ugly headstand, th: Hing both [his legs up in the air, wrapping the chain around udavy }s[neck. A simple body twist from McClane send Heavy e floor, Slam! FED : s.for his gun, But Jack G has it trappe t the holster until'the gun tumbles awal MCCLANE Keep driving ox I'll break his Godda neck! sport Driver's foot stays on the gas. > ‘tightens the chains around the Heavy Fed's neck. 1 MCCLANE (CONT'D) Keys! Fed finds his coat pocket, grabs the im on the bench next to Jack G. Fed and the Transport Driver are handcufféa d Jack G were. McClane checks the rear_Mi @ governnent sedans are seventy-five yhrds to thi he D.E.R.T. Helicopter overhead. EL - JACK G eiving With one hand, operating the on-board computer|with amie . McClane appears. MCCLANE (CONT'D) What you said back there. Mean it? JACK G Every word. D MCCLANE [_ ae ‘Thought so. () JACK G QO Where the hell are we? (contr: ©2005 TWENTIETH CENTURY FOX. NO‘DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.32. MCCLANE Westbound on 111, three miles East of Willowbrook. JACK G © Ard what kinda pull was that? Using The Force, Obi Wan? MCCLANE, Mile markers, road reflectors. ‘Tells Wu @ cop everything he needs to know. (then...) Always thought of myself as more of a Han Solo guy. JACK G I need to hook in. Something fast, : @-3 or better. I£ I can change the URL and backscat to a thousand Iss, maybe I can figure out who Charlie Brown is. hasn't a glimmer what Jack G just said. MCCLANE Swell. Figured a way out of the parade yet? on Jack G. He hasn't a clue. cm MCCLANE “(CONT'D) ~ Out of the driver's seat. @ gacK cS You got a problem with my driving? a, MCCLANE The problem with your driving is there's no problem. Wait for me to Get my foot on the gas, then you slide over me. uts his left foot op the gas, reaches around Jack G hold of the steering wheel. “Jack G slides jovér to ger seat. MCCLANE (CONT'D) Seat helt on. id argue, but he sees his father is buck! s belt. The son follows suit. JACK G [TTT] F dont see an off-ramp. (_) oe radio squawks:“ROONEY (OVER RADIO) d Transport, come back? INT. D.E.R.T. HELICOPTER - IN FLIGHT - TWILIGHT OV of the convoy. She keys her radio: ROONEY i said, Transport come back - | Labeday the transport van brakes and swerves! ROONEY (CONT'D) oh no! - TRANSPORT CONVOY - NIGET as gayernment sedans brake while McClane wheels JACK G Ce er ” aay at tho passing tzees, MCCLANE SHERWOOD FOREST? 33. Fed and the Transport Driver: HEAVY FED /TRANSPORT DRIVER = anaanaaniiacia! -_D-E}R.T. HELICOPTER - IN FLIGHT - TWILIGHT opter banks. ROONEY » Get them back on visual. poxt van can't be seen but for the viold boasional tree. ©2005 TWENTIETH CENTURY FOX, NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT,34. EXT, TRANSPORT VAN - THROUGA THE WOODS - NIGHT @ + e transport van careens off a tree, kik houlder, slides, up on two wheels. i TRANSPORT VAN MCCLANE Bottom comin! upt aly ludiesly|, there's no more trees, only dirt as th van touches down. - SACK G clo! Gea enhs) potieve he's sti1t alive. JACK G .. Now I know why mom wouldn't let you drive car pool. ENT. D-B.R.T. HELICOPTER - IN FLIGHT - NIGHT ing around over the power, lines; Rooney and look abgund. ‘There's absolutely no sign of the tfansport Robney is pissed. co O We're gonna need dogs. (aR yzsSouve to: a ED AREA ~ NIGHT bogs, frashlights, and COPS on foot. We see thoge power Is,[we see wheel tracks, then - ‘cor (OT) Ov re. i 7 TO = THE TRANSPORT VAN der a pile of heavy brush. The rear ed weveal the Heavy Fed and the Transport Driver. exe is no sign of McClane or Jack G. OUND PARKING ~ RIVERSIDE CONDO COMP! ©2g05 TWENTIETH CENTURY FOX. NO DUPLICATE WITHOUT FOX'S WRITTEN CONSENT. Th rock goes through the window of a new sounds, but McClane ignores it, openil (Apo eeting in underneath the steering column.McClane! dis : > With a screwdriver, he pries at the ignition swi sane ~ onck ¢ He simply lifts a loose piece of cinder-block an| bumper. BLAM! The airbag explodes jul head. ‘MCCLANE Hey! ips. He points to the "ONSTAR" button. ONSTAR OPERATOR OnStar emergency. We detected an air bag deployment - Ju Plops into the passenger seat, puts a “{t6) akterrupts, convincingly hysterical. =| (=) ae JACK G = Please! We hit a BIG TREE. My dad's having a heart attack! I think he's gonna die! ONSTAR OPERATOR Hang on while we contact emergency services. Can I have your name please? JACK G He's dying! I can drive him to a hospital but the engine's stalled and I can't get the key to turn! Please just start the car! ONSTAR OPERATOR May I have your name please? gee Glarrogantly holds up the car registration ead While he - JACK G~ - Stevie Seaver! My dad's name is David Seaver! PLEASE HELP US!!! ONSTAR OPERATOR Emergency Services are on the way - JACK G - I£ my daddy dies, I swear I'm going to sue you and your whole Goddamn family! So start the Goddamn car, lady - before my daddy Goddamn dies! (CONT. 35. S 9 a ry ‘a ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.used to break the windshield and s ‘microphone. O£f the look from his father. JACK G (CONT'D) Kinda shit I learned in prison. F MCCLANE Call that a prison? More like day Ly camp for delinquent frat boys, \_vo@tane-irops the car into gear. JACK G Wait. Maybe I should drive. You just had a heart attack, ‘MCCLANE Nice try. JACK G . I can steal it - but 1 can't handle it? (eee | MCCLANE No. I'm retired. That makes drivin’ a Caddy my flag-waving right. s foot hits the gas, he throws the car it hes up the ramp toward the gate. CRASH. security gate off the hinges. 7 RSIDE CONDO COMPLEX ~ DAWN (ep UP as the Cadillac surges into a dawning’ Sereen we read: DAY 2 ‘TE SHOT - DAY dust as | ttan. Tighter and tighter until we! cs a our sights. Gettin' nothing but sell-side on the E.T.3. Q I\ sly turns over. With that done, Jack G/takWs th xever: McClane y- @ sun breaches the horizon, we ZOOM ON|the Southdrn STREET INVESTMENT FIRM ~ DAY Ll. otag, BUTTONED-DOWN trader notices a “trend” exden. BUTTONED-DOHN NO DUPLICAT WITHOUT FOX'S WRITTEN CONSENT. ©2005 TWENTIETH CENTURY FOX.37. CORN ROHS Anything. I wanna buy? BUSTONED-DOWN Name youx symbol, dude. It's all ~ going South ~ a [The slick trader in the CORN ROWS stands over BkYtoner down' joulder . CORN Rows Roly shit! THE NEW YORK STOCK EXCHANGE - DAY. ction. In what looks-like standard trading, we s: K SPECIALIST push into the mass of TRADERS ,\holding, k sheet. 7 SPECIALIST W.W.S. Hundred thousand shares. SELL! le Next 8 a tidal wave of Traders, ali screaming Ga ges RS. CUT TO - THE BIG BOARD oe spin. Stocks are plummeting. Caren K SHOTS ~ MORE WALL STREET INVESTMENT FYRMS:- DAY onic Trading system is locked up. ‘Trafie in anger. Q DOOMED ‘TRADER What happened to the Goddamn safeties. Jesus Christ! Why's this happening ed to me. (se fen SHOT - WALL STREET. - DAY Trade; Prgart INT. THE] SYLVAN LEARNING CENTER - DAY A s bag chairs where TODDLERS and PRESCHO games. Conspicuously amongst the childyer bb-surfs at warp speed. rom various banking houses are shouting out) windows. We \CK WIDER to see the entire “street" is in focal ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.MCCLANE: Tura and McClans (os ee es) (2 Jaye \S- There's a six-year-old WHIZ KID help “NWeClanp stares down at the Whiz Kid. MCCLANE How old are you? Eight? ing near the door, McClane clocks four POLIPE they roil slowly down the boulevard. ‘two of park. With the strect flanked, the LO ix vehicles. his is where that Soccey those steaming lattes to McClane. SOCCER MOM Looks 1ike you could use one. MCCLANE: +++ Yeah, thanks. SOCCER MOM So which genius is yours? MCCLANE, Over there. The man-sized boy. SOCCER MOM Oh... The Special Needs child. (closer; whispers) Asperger's Syndrome? MCCLANE Hamburger's Syndrome. Wot enoagh Happy Meals, know what I mean? still eyeing the cops on the street, ort MCCLANE (CONT'D) Find Charlie Brown yet? Because we gotta move. WHIZ KID Workin' on it. Try the Dead Man's ses ove) ng him. 38. Switch. WHIZ KID I'm six. How old are you? WHIZ KID (CONT'D) Who's the fossil? ORCK G = from McClane, who wisely goes back to his post. oo : 005 TWENTIETH CENTURY FOX. NO puPuic BN WITHOUT FOX'S WRITTEN CONSENT.WHIZ KID. So serry. Hey. Communicating y Conspizator? 2 JACK G Both buffers and zones, bounced and came back. LW WHIZ KID Confused Deputy? Jack G types the Linux search - waits - then zip. > JACK G Shit. +8 POV cops arrive. They're asseubling at te bank adross the stréet. — C) Who's up for Chuck E Cheese? Jack's dad is buyin'! Dd EXT. SYLVAN LEARNING CENTER ~ DAY wok, those MOMS and with their SYLVAN KIDS alk, McClane and Jack G slung in the mifia JBCK G Charlie Brown's a ghost. Give me a week and I couldn't find him. MCCLANE We don't have a week. MoO gently gestures toyard - ACROSS THE STREET all crowd grows in front of the PENNSY}VANIA TY AND TRUST BANK. ‘Those Local Cops armed ns embled in front of a BLUE COLLAR man with bal; fists. BLUE COLLAR spo eee ’— — ()\ - Temporarily closed. Go find an ee (CONTINUED! ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.40. BLVE COLLAR = amis axon Pyecsinyt It's my money e and I need my money today! _ s LOCAL COP 3) oe ook, buddy, Why don't you come back tomorxow - os BLUE COLLAR - OPEN THE FUCKIN' DOORS? Pov SHC dred yards away, McClane and Jack G are get} lac. From here they see the Blue Colla| to the bank, only to be felled with a b fop's baton. ‘The Local Cops swarm as the situation Sout of control. JACK G Gotta know this is happening everywhere right now. ‘MCCLANE ike you said. ‘Day 2. Everybody chases their tails. EXT. CADILLAC - IN MOTION - DAY . Roaxing\down the highway, McClane behind the wheel, Jack (HozRDS \e nav-system. = O- Gotta get. to Greg Pope. . He knows all the shortcuts through The Grid. MCCLANE (a= - Wheelchair Guy? He's just gonna hand you back to the Feds. = ' JACK G ———] Gotta take that risk. Pope's a civilian. Total stand alone. He was the first one to map The Grid. If I can't find Charlie Brown, maybe I can put up some road blocks ~ ‘ane's look, SACK G (CONT'D) The Grid, you know? The pipes. Its' everything that keeps us connected. Pope? Pope made millions [ mapping it, selling it... He tried @BA05 TWENTIETH CENTURY FOX.. NO pupyicAy WITHOUT FOX'S WRITTEN CONSENT. to show where it was vulnerable, but the stupid government didn't pay —~ shough attention. D41. MCCLANE, Chatlie Brown did. EXT. VISITORS GATE - MOTOROLA SPORTS ARENA - DA‘ ¥eveals flagpoles with team banners {é the bredze. PULL BACK to reveal Jack G, arguing Motorola GATE GUARD in front of one of the huge, —"' gates, JACK G I don't have an appointment. Just \_____! c.t vope's office and say it's dack Generro - wait. John McClane Jr. fell him - : GATE GUARD - Make an appointment and they'll put you on the sheet. When you're ED) on the sheet, you get in. A frugttated Jack G takes a step closer to the MCCLANE (0.8.) That's okay. He'll make an appointment. Have a nice day. D McClane smiles and waves passively at the Gate Guard, COT FO, INSIDE THE CADTLEAC c=, G flops into the passenger seat. aT] MCCLANE (CONT'D) a Did you xeally think he was gonna see you? JACK G 2 When I hacked the IRS? I red-fiagged America's top ten civilian contractors| al C for audits. You'd think Pope'd want Tl] #2 00 me just to kick my ass. ae pives an approving smirk, puts the Cadillac fin —F 7 draws the car back twenty feet, then br; MCCLANE. Remember when I taught you to swim? JACK G You didn't teach me. You just threw me in the water and said, "Paddie, . Jack. Paddle and quack like a duck. ops the car into drive, then hits the ithe Cadillac blows through the gate. (CONTINUED ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.42. SACK G (CONT'D) Will you stop crashing through things? lest MCCLANE Quack, quack, quack. WIDER, Methane guns the Cadillac across the parking lot, Wircligg akerda. | = [POHE'S GLASS WINDOWED OFFICE - DAY fwaicd the arena and hits the brakes. McCh jely thrusts both his hands out the open Wi joes the same. MCCLANE’ DON‘ SHOOT, DON'T SHOOT1S! ECORITY GUARDS shove guns into McClane's fac Meanwhile, a thick, suited man named ROOSEVELT ‘1s open) (T= Ppstenser door, Out spills dack G: = seoswet (_) I how to stop - shut the hell bp’ axije Brown, okay? shut your mouth 4nd keep oO Ty Pope I know — your hands - ICE comes from the Nextel phone clipped _to ‘a pocket: POPE (0.8.) Let ‘em in, Rosey... Please, let ‘em an, 0 changes tack, smiles and leads the way, * slight limp ‘of a former athlete. 5 S ELEVATOR ~ DAY Bnd Jack G step on, followed by the 1impin; ROOSEVELT Damn knee. Ain't what it was when I [TT] owas playing. , Roosevelt is pulling on white gloves. cr ‘ces Roosevelt's gold, Superbowl ring. £ @os TWENTIETH CENTURY FOX. NO pupucaf@ WITHOUT FOX'S WRITTEN CONSENT.43. MCCLANE » —~] Superbowl twenty-five, right? Giants and Buffalo? : ROOSEVELT Was a ‘good gama. Long as you didn't take the points. share.a laugh. JACK G What're the gloves for? ROOSEVELT Man's a cripple and a gexmaphobe. But like he says. We're ali handicapped. MCCLANE, Forgot to pay my Mickey Mouse Club dues. How dumb do I feel? ey | GABBY a For him. Please. eh wee OFFICE and thin. . POPE ol «++ McClane. Versions 1.0 and-2.0. ane bristles at the insult. MCCLANE Can I ask you something? Is it some kind of fad or something? All you D geeks who could never make the team now own the team? JACK G Q Do you live to embarrass me? (conTTNURTs ce ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.aa. MCCLANE \ I'm your dad. Embaxrassing you comes with the job. POPE -) pin "Fad.". Been awhile since I heard that ove. Think the word these days is "trend, MCCLANE Okay. So what's the "trend" today? America's on the brink of disaster 80 you're taking some "personal days?"| O PORE, As soon as humanly possible. Question| is, why aren't you? BCCLANE Because Day 3 is tomorrow. POPE And you think you can stop it? Cc) JACK G Mo. But I might be able to delay it. With your help, I mean, Fut @ something in Charlie Brown's way. Force him to make a mistake - POPE ~ The mistake is waiting around for Biblical events to occur. America is sitting on a bub that's about to - 0) LOWEN x MCCLANE - Hey Mr. Leaving On a Jet Plane. You gonna help or what? JACK G : Please. The only one who knows The Grid better than Charlie Brown is you PORE, I'm just a simple mapmaker. You were inside his network. How's he doing it? es a beat, digging at his own brain. JACK G +++ He must've built the model using a Blitz Caterpillar. I also know he jacked my Usenix codes with a stick module. (MORE) “CuaJACK G (CONT'D) But I don't get how be could gas the D conversion speed ~ infect ail those systems at once. = POPE Maybe with an FSB tool. Or if he hhad some kind of traceable mark-up language ~ JACK 6 ~ What about a Zooko Triangle? @ thinks, nods his possible agreement. SACK G (CONT'D) That's gotta be it. Then he ran PetNames - like Ivanhoe or Baby Brother ~ POPE = He wouldn't have to break through firewalls if he was only riding the bots. IL ON - MCCLANE (9 D He cautiously observes the word play between Jack C Pope. JACK G (2) ) TEet cguld hook me in. Some entry that's clean ~ unroutable - I'm talking Four Corners of Identity clean. I could get inside and slow down Charlie Brown. Oo nore You'd need some kind of hub. Only six places in the country have that = Kind of access. And I couldn't get you in if I tried. MCCLANE Try harder. POPE How about the feds? What do you think they know? akes his head. b ear. POPE (CONT'D) D. | Will you excuse me for a moment? You need anything, just ask Gabby. i vhebls Pope around and EXITS. McClane look# at Gabby: Gabby returns and whisper: 9 ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.‘MCCLANE I mead to take a leak. ; JACK G Me, too. cLose oy - GABBY Arms prossed, put-on smile. She's unimpressed. GABBY Ah, ‘the sophisticated male. - POPE'S BATHROOM - DAY rat, MoClane and Jack 6 are washing hands. xs water coming from the faucet - JACK G How we gonna take them - MCCLANE =~ - Shut up and listen. 1'11 go first, take out, big guy in the track suit. You go for the girl and - JACK G oO ~ Why do I get the girl? Don't think I can take the quy ~ MCCLANE ~ Be happy. Young stud always gets the girl. You ready? On three. One - two - ‘He ]throws open the bathroom door to find ~ ights fimsel£. MCCLANE (CONT'D) ++. Anytime, Jack! —nereat! happens vory fast. McClane charges ont ents, centers herself, then spins McClai tliny hold. x — ~ Rope ia Charlie Brown. MCCLANE [—} Way ahead of you. We gotta take them down and stop this shit in time JACK G - Take them down? here's 1ike — oe Le ed ixfeet of her unleashing a single kick-bl. e's ending him soaring backward into the cabinet. McClane 0 = S, _ A No DUPLICA Qu witHoUT Fox's WRITTEN CONSENT. G@m05 TWENTIETH CENTURY FOX.McClane Mel ‘si1 re ‘THE WINDOW the gia shatters as McClane careens out the wil PUSH IN ON ~ JACK G ; MOTOROLA SPORTS ARENA - SCENE CONT'D struggles, trying to get some kind of le ly uncoils herself and releases McClang |. Sack G can't find so much as a scream, ‘ef those flagpoles. ‘The American flag tears, Tangled with those stars and stripes, McClane ) Strangely fueled by the moment, Pope rises from his diz. o the sod. He stirs, groans. S OFFICE SUITE ~ DAY W out the window. McClane in a broken| TO - POPE locked by big Blue, horrified and sho! JACK G ~ But you're supposed to be a cripple ~ 47. inges at Jack G. They're face to face. [ POPE - Pope's a deformed, helf-man sell- out. But Charlie Brown? He wants to push the reset button, flush the whole system, (steps back) And you. You're the patsy. The rebel with a cause. Hates authority. ——————— A warm body who takes the blame for all of it. - JACK G ©2005 TWENTIETH CENTURY FOX, NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.48. EXT, PARKING LOT ~ MOTOROLA SPORTS ARENA - DAY nd battered, McClane’ thumps into the Ca the door latch, then collapses into the driver! oeeely Rips open the passenger door, pistol out and leve! ts head. @ lifts his hands up. MCCLANE ++ Can I ask you one question? ~~ (finds 3 breath) What's the vorst part of steroids? The swelled head or the shrunk dick? ox, Roosevelt dives into the car. ‘That ane's face. McClane pushes it away jus: The bullets miss, starring the windsiijeld. Bgfore Roosevelt can retrain the gun, McClane gets a hant Roosevelt's wrist. Roosevelt's free hand grabs for McClane. ering wheel twists and the car careens ba ‘ough the twayty-foot glass window of the arena. |R.T. TRAILER RIG - DAY C ‘ ey behind her, Panzarella plays back tht cf jn of Jack G. JACK G'S VOICE "~ If my daddy dies, I swear I'm going to sue you and your whole 4 Goddamn family! ‘PRNZARELLA The voice is a match, And the car C7] #*- [ (checks location) = Near Philly, Parked at the Motorola Sports Arena. n cxeen, Panzarella overlays the OnStar tracker with a ‘ive; lite picture. Click as Panzarella x mw aRd - ae ‘BEEBOCK Not at the Motorola sports Arena. The cax is in the Motorola Sports ‘a Arena. ©7gB5 TWENTIETH CENTURY FOX. NO QUPLICAT QwitHout FOX'S WRITTEN CONSENT.49. Sure enough, on screen we see the little blinking ’ the stolen Caddy moving inside the Motor; INT. FIRST CONCOURSE - MOTOROLA SPORTS ARENA ~ ‘The Caddtiac, still surging in xeverse, crashes ‘Po: '@ VENDORS STATIONS. Beer kegs explode. - McClane and Roosevelt in a death grip WIDE, SPIRAL ESCALATORS -. Stairs to the stairwell that moves upward to the lef iff the stairs, turns sideways, and cras! onto the escalator. The Caddy's wheel: aé the IN THE CAR ~ at impact, the 9mm is pinched between the dash and windshield. As Roosevelt stretches for it, Mo MCCLANE How's! ‘That! Knee! Now! griuacing, only inches from retrieving the p , he lunges at McClane with a hammering right fist holes in McClane's face with that Super[Bowl ring - THE BROKEN ONSTAR SPEAKER ich comes a cracked yoice: ROONEY (OVER CAR SPEAKER) John or Jack McClane. Can you hear me? This is Rooney of the ~ MCCLANE ~ POPE IS CHARLIE BROWN! ® +R.T. TRAILER RIG ~ DAY [IE ENS Transmission, MeClane's voice is a mix of|ed Y . d garble. ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.LL] ean do but BEEBOCK Think he said something is "Brown" — ROONEY ~ Charlie Brown! {into the mic) Onstar Operator? Did you hear the subject say - MCCLANE (OVER SPEAKER) ~ PQ'--- IS --- RLIE - serena SPORTS ARENA — SCENE CONT'D McClane takes another fist in the face. - is thrown into the seat. His eyes lies ahead - the glass doors to the The Caddy smashes through. It's all 't grab the wheel, try to steer the spee: 50. O ~ The Caddy falls out of the escalatok and sidwly backward. with one hand,:and grab for the gun with the other. (wo LUXURY QUITE CORRIDOR - The Caddy roars through (@sie)\at| thirty, forty, fifty MPH. ROONEY (OVER CAR SPEAKER) McClane? .If you can hear - ROOSEVELT = Shut up, bitch! I'm trying to . drive! wedged into the foot well, hand on the ROOSEVELT (CONT'D) ~ BRAKES, MAN! MCCLANE SAY YOU WANNA GO FASTER? ROOSEVELT HIT THE BRAKES AND I'LL LET YOU LIVE! MCCLANE GIMME THE GUN! > Smashes his fist into what's left of| th akex assembly, shattering the unit. @ arcing © 4 () Barns IT EOY'S WRITTFN CONSENT 2 Mle RET IEeTE APRITHIDV CAV. MA MIDE IDAT:No? McClane xeaches up, pulls on the steering wh: y can Feel] the Caddy swerve hard. INT. POPE'S OFFICE SUITE - DAY . dashing; grabbing last minute items, y: ea on computers, all while on the cell-y GABBY - Pulling all the drives. we'te leaving in the chopper now — in front of her explodes as the grill o} is upon her. Gabby sees Roosevelt, Roose it as car hits her head on, ~ dives into the back seat. ‘as the car brakes just short of those £14 eiling 7] She's rocked backwards into the glass. SLOW MOTION shot of the private helicopter, Blue Dd a zip-tied Jack G, Pope in the lead, Wash pushing Pope in eelchair. All turning their heads in synchro unigon.\ They see ~ ly tumbling from that busted window. ches his girlfriend die. BEupRSp Pov - MCCLANE IN THE CADDY ne from the footwell in time to see Pope, Blup, (Wash, G momentarily frozen pear the helicopter MCCLANE, I flunked charm school. ROOSEVEDT Doar} ee ee ee (CONTINUED) ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.52. BACK T0 HELICOPTER the helicopter.and’ running full tilt, hands stil ~ Blue starts to chase, Jack Gleaps arid rolls, sliding to the bottom until he a sway exit ramp and runs against traffic upti]-he's ressway . oe Q) better of getting into this impossible chhs! © the chopper. OROLA SEORTS ARENA - SCENE CONT'D K IN THE CADILLAC. McClane is being cho) fineman. So McClane throws the car into ‘the gas. Tse, THE - smashes through three walls in a row] mn luxury suite, ripping up five rows of! and soarfing into ~ ‘THE ARENA CKEY PLAYERS spin and stop just as the C: window with nothing to stop it but and the steel cabling: from a window-was illac ends up suspended, slightly swinging @xing;| rear wheels still spinning. (2$spe tHe cappy seovers Roosevelt, hanging from the rear a ROOSEVELT <= +++ Help me, wee! LANE Where's Pope going with my son? ROOSEVELT Swear to God, mister. I got kids, too. Help me and I'll help you. continues to dangerously swing. McClane the ‘over the trunk. He's reaching for and cl&sping t's Super Bowl ring hand, McClane growld. a Where? 8 ae (MM. WeENTIETH CENTURY FAY NO DIBEICA Qarruc: ITFOY'S WRITTEN CONSENT53. ROOSEVELT d “———"_ Maryland Gost. . MCCLANE _. What? . --) 4+ ‘ROOSEVELT Mary - Land - the cable suspending the car gives way drops toward the seats and snaps to a 9 ~ MCCLANE'S .HAND Qa pe tights himself, he slips on the Super for sizé MCCLANE . Sorry pal. Didn't take the points. > EXT. ROADWAY ~ DAY tied behind his back, Jack G running full-| Tale of the blacktop, throwing a look behi: one is chasing him. Finally, he slows turn. But as we watch Jack G staring b of The Motorola Sports Arena, the hoxif ’ith POLICE CARS and EMS UNITS. Jack G ng charge, and ducks into the brush. FARM ~ DUSK ‘ing. Farm house, barn, grain silo. Pi ex lands. PULL BACK to reveal the sinc one of Pope's misfits, with her flattene| fitary tattoos, and glass eye. She rolis ix, assists Blue in helping Pope from the hi iG ~ MR. FRANK Unlike xest of the Pope crew, this Polo-shir casual in pose. They shout over the 5: ely ex rotors. MR. FRANK = MR, POPE, WE WEREN'T EXPECTING YOU UNTIL ~ > vor C) ~ CHANGE OF PLAN! WHAT'S HAPPENING a WITH DAY 32 frosts ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.54, ‘MR. FRANK ON SCHEDULE. RIGHT NOW, WE'RE e PREPARING TO SHUT DOWN EMERGENCY : SERVICES ~ = POPE ~ SO WHAT'S KEEPING YoU? Blue s Popé toward the farm house. . FARM HOUSE ~ DAY chases Mr. Frank, twisting through TCHEN, then into a CELLAR DOOR. Mr. Frank he steps. ROUND. BUNKER ~ OLD FARM HOUSE - NIGHT et Mr. Frank's cyber-savvy co-horts - 3 pnd the Quebec-born OLIVIER. They're sw| amongst fp stacks of computers, servers, routers, of large, hi-res screens. butcher paper, on which are scrawled DAY 1, DAY Under each day ox plans, plots, instru en ‘MR. FRANK Change of plan. KRISPY 5 Change of plan? What's that supposed to mean ~ MR. FRANK ~ He's Greg Bloody Pope. So it means whatever the hell he wants it to mean! Heads in the game, boys. Where are we with the EMS package? OLIVIER Almost there. SCREEN Olivier assemble lines of code, then ne: nto icons. On ANOTHER SCREEN, we see the EMERGENCW SERVICES NETWORK page. Icons are movi ely punched. a Mos twentieTH CENTURY FOX NO DUP! ca WITHOUT FOX'S WRITTEN CONSENT.55. OLIVIER (CONT*D) Done. ‘MR. FRANK Send it. CLOSE oy ~ OLIVIER'S INDEX FINGER | simply pressing the ENTER key. ars ‘re digitized, then shot at light-speed ontic cables. As the EMTs wheel the patient into the E.R., we see @ ively OVERCROWDED SITUATION, wall to wall, cl with NSEDY PEOPLE and a HEFTY NURSE holding up a fiand. (am) HEFTY NURSE Nuh uh. We are full up! PARAMEDIC QO You gotta. Dispatch said you guys axe itt HEFTY NURSE Well Dispatch can kiss my sweet ass, cuz for some reason, they're saying we're it for the whole Gaddamn county! > ‘ANT SLOPE — BEYOND THE MOTOROLA ARENA ~ DU: POLICE HELICOPTER cuts across the sky, we distant ftermath at the Motorola Sports Arena, d with police vehicles. MCCLANE I said D.E.R.T. D-E-R-T. don't know what city. OQ QHORE) (corm = ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.I 36. MCCLANE (CONT'D) —_] «itis a big brother, secret government.... You don't have the listings for covert spy agencies? They'ze probably listening to us right - How about I threaten to put elt 5 ‘phone, |_squesi-ds a PANEL VAN stops. a xeXChes —| eno (\ a stick of dynamite up the internet's ass? LISTEN, LADY. THE GODDAMN. COUNTRY'S FALLING APART! la CLICK and a DIAL TONE. McClane slams teps from the phone booth. Headlights, INSPECTION REVEALS ~ JACK G the wheel of the van, satisfied grin on hig JACK G Happy to see me? takes in the van. The panel reads: "ISHR :" This is where McClane hears the [f Move over. I'm driving - JACK G ~ No way. You told me when I was five - i€ L could jack it, I could drive it. fin, Jack G with that damned grin. McClal for the panel door and throws it open. the dog cages. The dogs go crazy. Jack x's seat ~ JACK G (CONT'D) ~ What are you doin'? All these dogs got people - e van, McClane circles around and crawls irto|the . seat. MCCLANE Wanna tell me where we're goin'? Jack G pulls the panel door shut. VAN - IN MOTION - NIGHT Pope seemed worried that I'd be able to hook in somewhere that's (MORE) = TWENTIETH CENTURY FOX. NO DuPLiCN WITHOUT FOX'S WRITTEN CONSENT.37. JACK G (CONT'D) unroutable. Nearest Supexjunction's in Jersey. Maybe if I run a Tent Show, hopscotch all the ISPs and - = - MCCLANE ae 7 - dust tell me you can stop Day 3. JACK G It's a Hail Mary. But it's all we - THE PANEL VAN'S WINDSHIELD A massive traffic jam looms. Miles and miles off lows the panel van.to a stop.. Jack G put of their cars and walking. MCCLANE Human nature. People ‘ren when they're seared. JACK G By this time tomorrow, the whole Northeast will be powerless. Then as the blackout moves West... We're talking about a country with two hundred million guns. MCCLANE = Fastest way to Jersey's the train. OUTSIDE THE VAN UPLICATION WITHOUT FOX'S WRITTEN CONSENT. ere MeClane and Jack G step out onto the highw! ‘opexé th panel door and frees all the dogs. pe hundreds of others who are abandoning thkix cars, et ing. TH FARM HOUSE ~ NIGHT -Bugijle] furnished, and neat as a surgeon's tool et. The oa taseltty TV is tuned to news. CABLE fEWS ANCHOR :++ The White House continued to caution Americans not to panic today, calling the sudden infrastructure failuses as "expected anomalies in a complex infrastructure - is picked up and the SOUND MUTED.. It's Ifdia. ‘SWIVELS FROM LYDIA TO.~ A BEDROOM aes ena eel and Wash. ©2005 TWENTIETH CENTURY FOX. NOD (CONTINUEDY58, [~ |uingering over the body is Pope, who finally peels-aff@ e@ | “atest e ite glove, bends at the waist to stroke and) lstop millimeters. short of actually touchfng her LJ pope withdraws his hand. ~ VIDEO FOV ‘Pope standing over Gabby. WE DISSOLVE TO: 7 ROOM - UNDERGROUND BUNKER - NIGHT That sane VIDEO SHOT of Pope standing over Gabby} {Hen we WIDER to reveal Mr. Frank, Krispy, anc ¥ unding the monitor. — KRISPY That's creepy shit, man. MR. FRANK Go easy. . That was his squeeze. OLIVIER I'd get a DNA test before I'd call that a girl ~ KRISPY e = Not talking about the dead woman. I thought he was like damaged, you know? . The wheelchair? WASH (enters) Man's on his way down. Get your mitts on! , they're all pulling on white gloves as\Zope : thing, only doing a superhuman assessment e cal] calculators, engineering schematics, satel ft ‘and MR. FRANK Just 4 couple more adjustments and we'ze ready.to start the water sequence ~ $ is the very same finger Pope nearly tou 4 ‘with. Pope is about to angrily press ENTER ps to his feet. MR. FRANK (CONT'D) a I said it wasn't quite ready!POPE What you mean is the package is not yet perfected. = eo MR. FRANK Just a couple of tweaks - POPE ~ I'm not playing a game of perfect. LL and for that matter, neither is God. Oz haven't you noticed? 5 "8 POV Waph, the empty wheelchair, and the sickly’ ‘es his index finger and pushes ENTER. AW RESERVOIR - UPSTATE NEW YORK - NIGH! ‘com thé starry sky to this tranquil lake to the water, surging toward a bank of ters, sucked into the filtration system the pi and/into ~ There's a glass window through which we can obse: massive, saucer-like caps of the filtration’ cylinders. TILT window to a bank of monitoring screens 4 | bathroom stumbles the NIGHT OPERATOR, p: to ss knees, he falis into his chair and as: Ge He's on the phone. factors) levels of chlorine, removal of granular falcite > Come s 59. Q NIGHT OPERATOR 7] cotta taik to Marty... T know what Goddamn time it is! Tell Marty we <= got bad water! [see Mos peare @ SCREAM from the bathroom. She ind BS s MOM is kindly barking at her TEN-YEAR-OLD. MOM Homework then Playstation -~ TODDLER is covered in suds, soap in the Ax Ext, 5 DEVELOPMENT - WIGET st@bIishing. Sleepy and quiet. INT. HOME - NIGHT ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.60. MOM (CONT'D) Why'd you — When the Mom tries to turn the water back on, 5! > a trickle from the faucet. eee QUICK SHOTS i (TAIN stops running. SPRINKLERS ona ae course Slay DP WORST OF ALL ~ A FIVE ALARM INDUSTRIAL FIRE dre. But.those hoses run dry - all at oncé shocked. They've never seen anything like d ‘The fite rages. ATION ROOM ~ DHS ~ DAY The 5} ns are showing not one contaminated res} e jervoir from Washington D.C, to Boston. cies that the tall, drawling Chief Thompsoh. CHIEF THOMPSON See the red dots? Every system on = screen is'in a code red shut down. Coy ) Mates ae att. amsnoay's got eater. aoe oe CD It's bullshit. Can't be that much bad water. Not at the exact sane time. It's just another network attack. Tell the plants to turn the water back on - od CHIEF THOMPSON <= ~ I strongly recommend you relax and a) (cooler) - Sit. Breathe for a moment. And think about what you're asking. | have a drink of water. son holds up a brimming water glass t} Deputy das if to dare him to drink it. Deputy Wigand 13 D BUNKER ~ OLD FARM HOUSE - NIGHT (RET surveying the results of the water contaminaté ackagey! Pope appears weakened, folding himself had P chair. Blue silently rolls Pope out of| the NO DUPLICA@ WITHOUT FOX'S WRITTEN CONSENT. (qa TWENTIETH CENTURY FOX.D IC RESTROOM - AMTRAK STATION - TRENTON, Clane looks at himself in the mirror, his face bruised and bloodied. MCCLANE You need a shave, John. ee e spigot to wash his hands, McClane can't get_€ven iq. [He gets exactly what this means. MCCLANE (CONT'D) +++ No water. STATION ANNOUNCER, (OVER Amtrak 419 to Penryn, Addlebury, Middleton, and New York City. ars wearing a bascball cap. He tosses a gi wero to McClane. MCCLANE What's this for? JACK G To protect your civil liberties. D Big Brother's got cameras all over the platform. Keep the hat on and your head down. (Mctiade bries the sombrero on for size. MCCLANE Your mom got my civil liberties in a the divorce. EXT. Pl . FORM - AMTRAK STATION - TRENTON, NJ - NIGHT S dom, collars up, McClane follows Jack G ofto the trdin. ‘Qaiy that wide-brimmed sombrero annoys an exiting PASSENGEH - ~~] ANNOYED PASSENGER Watch the lid, dickhead. [SE Ee © precise moment McClane instinctively e face of the Annoyed Passenger? PFX-SHOT - QUICK ZOOM AND FREEZE ON - MCCLANE'S Parti seen, scanned, digitized and aixmailed tp D ‘TION ROOM - DHS - NIGHT partial scan of McClane's face, followed by si tis ID, pings on a SITUATION OPERATOR'S scr¢ei a ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.INT. STUDY - OLD FARMHOUSE - NIGHT CAMERA RISES and hovers, we see Pope making penc on a map. . 62. nd, ‘we slowly PUSH IN om Pope at a des CLOSER -} THE MAP - @ aix of professional panic in the roof, “fier | “Higgndrhas found a secure phone, reporting to a “fier | lorkty with a series of DEPUTY WIGAND +++ Yes, sir. Yes... We'ze working on that, sir. It lopks like the crooked spokes of a wheel, all fo soreen‘in front of Pope. He stares at the image like a man ak a mortal eneny. INT, POPE (2) ) 52's the government's job to stop him, Just. make sure they know where to find him. CO ‘Poy can't take his-eyes off that FBI image df 2) ‘TION ROOM - DHS - NIGHT With a signal, Chief Thompson softly ae - ious hub, WASH (appears) McClanes are on a train. OUND BUNKER - OLD FARM HOUSE - NIGHT’ amé FBI profile and scanned image of McClane™s ‘the MR. FRANK Train stops in Penryn, Middleton, New York City. There're superjunctions in Middleton and Manhattan. If Jack McClane hooks in there, I don't know if we can stop him from penetrating — DEPUTY WIGAND (CONT'D) - I'm on with The White House! CHIEF THOMPSON BS TWENTIETH CENTURY FOX. NO puruical WITHOUT FOX'S WRITTEN CONSENT. Positive on Jack McClane. In New Jersey, on a train headed for New York City.63. [Deputy Wigand hangs up on The White House. Chief > refers th a map. LJ CHIEF THOMESOM (CONT'D) _—. We'xe looking to meet the train right there. Middleton. [exXT’. NORTHBOUND AMTRAK - NIGHT ishing. ‘he train cuts across a xural plai INT. NORPHBOUND AMTRAK - NIGHT arsely populated car. McClane and Jack G ai each other. Only McClane has nodded of: JACK G Hey, (with a slight prod) Hey! fi gne’wakes as if somebody stuck him with 3 i) JACK G (CONT'D) C7) Nightmare? > MCCLANE ++; Naw, Nightmare woulda had your mom's lawyer in it. = ack 6 Just won't let it go. (then...) People get divorced, you know. a Families split. Part of life. Deciding] not to answer, McClane straightens, rubs hid OSKs out the window. : JACK G (CONT'D) = Why even try to be zeal, right? Not Like we ever really talked. ‘mee, Jack G child drop the subject. But instead he goes bn|a if: memory lane. JACK G (CONT'D) Hey, Pop. Dentist says I need braces. (imitates McClane} When I needed braces? My old man said he'd give me the five thousand ® bucks if I just quit smilin'. (as Jack G) : Yo, Pop.. Okay if I'm home around I eee | Aa ‘ foomprarreny ©2008 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.SACK G (CONT'D) e (as McClane) AAAAARAR! Wrong answer. Wanna play for bonus points? -— .. (a8 Jack G) Remember this one? Sorry Pop. But ____] r'fiuaked biology again. (as McClane) So.did I.° But your mom gave me a makesp exam, otherwise you wouldn't be here. racks @ half-smile, looks his son in ‘0 MCCLANE I actually said that? xeturns the smile. But McClane frowns. ‘the window he sees the dark profile of aj sses the aisle, looks out the other w} there!'s bnother helicopter. MCCLANE (CONT'D) Gotta get off this train. INEER'S CAB - NORTHBOUND AMTRAK ~ IN MOTI R hangs up his cab phone, then torns pistol in his face. MCCLANE Q Do everything I tell you! Nr. CARS - NORTHBOUND AMTRAK - IN MOTION ~ it calmly sweeps the car. < conpucror ——~_] Leave all personal items and move to the rear ar, please. It's a matter of personal safety. —dp wer his shoulder and we seo McClane, Jac} G, and tle Engineer}. ther CONDUCTORS are sweeping passengers fo the -R.T. HELICOPTER - IN FLIGHT - NIGHT istance, Rooney can see the Northbound 5 ( @@5 TWENTIETH CENTURY FOX. NO pupLica @@virHour FOX'S WRITTEN CONSENT.65. INT. REAR CAR ~ NORTHBOUND AMTRAK ~ NIGHT car is jammed with FRIGHTENED PASSEN( crosses the threshold into the last car, turns father to join him. But McClane balks. an) Yvan ‘MCCLANE You gotta get to that Supex-USB-www- dot-com place. JACK G But you'ré comin' with me! i O You gotta do your thing and I gotta do mine! : JACK G Your’ thing? MCCLANE I'm gonna paint a target on my ass. It's what I'm good at. TACK G But how do I - D MCCLANE - You'll figure it out. (turns. to the Engineer) (a) \ iIneer gears up the threshold, squats, a in, then throws the coupler lever. The sepératds from the rest.of the train. As the caks part - MCCLANE (CONT'D) Don't take any shit. 1d Pov = ‘lane ducks back into the train. ‘The distance carS~indreases by the second, os CAB ~ NORTHBOUND AMTRAK - NIGET ane stands over what he expected would be a lols, only to find all gauges and dials Sn d onto digital screens operated by keyboards and an nd 1 joystick, ‘MCCLANE eo So how hard can it be? [ye onty biectase could read the screen, Instinct ae shuts the cab door to find a hanging ©2005 TWENTIETH CENTURY FOX. NO DUPLICATION WITHOUT FOX'S WRITTEN CONSENT.