Die Hard

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.