Die Hard Page #3

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

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