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"DIE HARD"
Screenplay
by
Jeb Stuart
Revisions by
Steven E. DeSouza
based on the novel
Nothing Lasts Forever
by
Roderick Thorp
WITH REVISION #1 (Blue) WITH REVISION #5 (Goldenrod)
November 2, 1987 November 5, 1987
WITH REVISION #2 (Pink) WITH REVISION #6 (Salmon)
November 4, 1987 November 17, 1987
WITH REVISION #3 (Green) WITH REVISION #7 (Blue)
November 4, 1987 November 23, 1987
WITH REVISION #4 (Yellow) WITH REVISION #8 (Pink)
November 5, 1987 November 30, 1987
SECOND REVISED DRAFT
October 2, 1987
A Gordon Company/Silver Pictures Production
------------------------------------------------------------------------------
"DIE HARD"
FADE IN
1 405 FREEWAY - LOS ANGELES - EARLY EVENING 1
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.
2 INT. 747 - PASSENGERS - SAME 2
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.
3 ON JOHN MCCLANE 3
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:
3-A HIS P.O.V. - MCCLANE'S BARETTA PISTOL 3-A
Peeking out from his jacket.
3-B BACK TO SCENE 3-B
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:
3-C A PRETTY STEWARDESS 3-C
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
She doesn't complain.
STEWARDESS
(eying 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:
4 INT. THE NAKATOMI BUILDING (LOS ANGELES) - EVENING 4
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:
5 HER OFFICE 5
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:
6 INT. NICE HOUSE IN SANTA MONICA 6
where a five-year old LUCY MCCLANE races her YOUNGER BROTHER
to the phone, winsthe 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.
7 INT. LAX - EVENING 7
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:
7-A HIS P.O.V. - TERMINAL 7-A
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.
7-B BACK TO SCENE 7-B
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 an
ill-fitting chauffeur's uniform. As he waits he beats out a
rhythmn 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:
8 WITH THE LIMO - DUSK 8
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.
9 HIS P.O.V. 9
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.
10- OUT OUT 10-
11 11
11-A THE LIMO - CENTURY CITY 11-A
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.
12 EXT. NAKATOMI BUILDING - NIGHT 12
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.
13 INT. NAKATOMI LOBBY - NIGHT 13
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.
13-A SCREEN - CLOSER 13-A
McClane types, "McClane, Holly". Pause. The screen replies,
NO SUCH EMPLOYEE LISTED.
13-B MCCLANE 13-B
Frowns...thinks. Simultaneously inspired and suspicious, he
types again.
13-C THE SCREEN 13-C
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. *
13-D BACK TO SCENE 13-D
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:
13-E ANOTHER SECURITY GUARD 13-E
Patrolling a different area.
13-F SEVERAL HI-TECH CAMERAS AND SENSORS 13-F
which are cleverly worked into the decor of the lobby.
13-G BACK TO SCENE 13-G
McClane reacts with bored professionalism, NODS to the guard.
MCCLANE
Lots of hardware...
The guard shrugs. McClane gets in the elevator.
14 INT. ELEVATOR - NIGHT 14
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.
15 30TH FLOOR - SAME 15
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:
15-A TAKAGI 15-A
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...
16 HOLLY'S OFFICE 16
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...!
16-A MCCLANE AND HOLLY 16-A
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:
17 EXT. NAKATOMI - NIGHT 17
An Emory freight truck turns off Olympic into the underground
parking garage of Nakatomi.
18 INT. PARKING GARAGE 18
It goes down the ramp and passes Argyle's black limo. The
driver's seat is EMPTY.
19 INT. LIMO - SAME 19
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.
20 INT. PARKING GARAGE - SAME 20
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.
21 INT. ELLIS' OFFICE - NIGHT 21
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
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