Die Hard Page #5

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-b*tch. 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.

GINNY:

Miz Gennero? Mr. Takagi is looking

for you...he wants you to say something

to the troops...

HOLLY:

Thanks, Ginny. I'll be a second.

Oh, this is --

MCCLANE:

(mock bright 'radio' voice)

Hi. John Gennero here. I'm the

sensitive and supportive man of the

eighties.

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