Die Hard

Screenplay by       Jeb Stuart

          Steven E. de Souza

Produced by       Lawrence Gordon

          Joel Silver

Directed by       John McTiernan

Cast List:

Bruce Willis      John McLane

Bonnie Bedelia      Holly McLane

Reginad Vel Johnson    Sgt. Al Powell

Paul Gleason      Dwayne T. Robinson

Alan Rickman      Hans Gruber

De’Voreaux White    Argyle

William Atherton    Thornburg

Hart Bochner     Ellis

James Shigeta      Takagi

Alexander Gudunov    Karl

FADE IN:

EXT. 405 FREEWAY – LOS ANGELES – EARLY EVENING

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.

INT. 747 – PASSENGERS – SAME

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.

ON JOHN MCCLANE

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:

HIS POV – MCCLANE'S BARETTA PISTOL

Peeking out from his jacket.

BACK TO SCENE

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:

A PRETTY STEWARDESS

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

He doesn't complain.

STEWARDESS

(eyeing 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:

INT. THE NAKATOMI BUILDING (LOS ANGELES) – EVENING

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:

HER OFFICE

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:

INT. NICE HOUSE IN SANTA MONICA

Where a five-year old LUCYMCCLANE races her YOUNGER BROTHER to the phone, wins the 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.

INT. LAX – EVENING

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:

HIS POV – TERMINAL

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.

BACK TO SCENE

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 anill-fitting chauffeur's uniform. As he waits he beats out a rhythm 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:

WITH THE LIMO – DUSK

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.

HIS POV

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.

THE LIMO – CENTURY CITY

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.

EXT. NAKATOMI BUILDING – NIGHT

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.

INT. NAKATOMI LOBBY – NIGHT

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.

SCREEN – CLOSER

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

MCCLANE

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

THE SCREEN

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.

BACK TO SCENE

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:

ANOTHER SECURITY GUARD

Patrolling a different area.

SEVERAL HI-TECH CAMERAS AND SENSORS

Which are cleverly worked into the decor of the lobby.

BACK TO SCENE

McClane reacts with bored professionalism, NODS to the guard.

MCCLANE

Lots of hardware...

The guard shrugs. McClane gets in the elevator.

INT. ELEVATOR – NIGHT

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.

30TH FLOOR – SAME

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:

TAKAGI

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...

HOLLY'S OFFICE

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...!

MCCLANE AND HOLLY

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:

EXT. NAKATOMI – NIGHT

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

INT. PARKING GARAGE

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

INT. LIMO – SAME

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.

INT. PARKING GARAGE – SAME

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.

INT. ELLIS' OFFICE – NIGHT

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.