Die Hard
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Promo
USP: This script stands out in the action genre with its unique blend of sharp dialogue, tense character interactions, and high-stakes situations. The story features a relatable and determined protagonist, John McClane, who must navigate a dangerous terrorist takeover in a high-rise building to save his estranged wife and colleagues. The script's distinct voice is characterized by its focus on authentic character dynamics, moral dilemmas, and innovative storytelling techniques, creating a suspenseful and engaging experience for the audience. With its unique take on the action genre and memorable characters, this script is sure to captivate and enthrall viewers.
Overview
Genres: Action, Thriller, Drama, Crime, Comedy
Setting: Contemporary, Los Angeles, California, including Nakatomi Plaza, police station, and various other indoor and outdoor locations
Overview: The screenplay showcases strong elements of character development, dialogue effectiveness, and originality, but it could benefit from deeper emotional resonance and more unpredictable plot twists.
Themes: Survival, Marital Relationships, Law Enforcement, Betrayal
Conflict and Stakes: The primary conflict is between John McClane and the European terrorist group led by Hans Gruber, who take over the Nakatomi Plaza building on Christmas Eve. The stakes are high, as the terrorists plan to steal millions in bearer bonds and take hostages, including John's estranged wife Holly. John must navigate the situation using his wits and resourcefulness to save Holly and stop the terrorists.
Overall Mood: Tense and action-packed, with moments of humor and levity
Mood/Tone at Key Scenes:
- Scene 1: The opening scene on the plane is light-hearted and humorous, setting the tone for the film's mix of action and comedy.
Standout Features:
- Unique Hook: Die Hard is often credited with inventing the modern action movie genre, making it a unique and influential property.
- Plot Twist : The twist of having a seemingly ordinary man like John McClane become the hero in an extraordinary situation is a major part of the film's appeal.
- Distinctive Setting : The Nakatomi Plaza building serves as a unique and memorable setting for the action, making it a distinctive feature of the film.
Comparable Scripts:
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-49, fans of action and thriller movies
Marketability: Die Hard is a classic action movie with a beloved protagonist, memorable villains, and iconic set pieces. It has already spawned multiple sequels and remains a popular franchise, making it highly marketable to fans of action and thriller movies.
While the original Die Hard was released in 1988, the story and characters remain timeless, making it a potential candidate for a modern remake or reboot.
Die Hard has become a cultural touchstone and a staple of holiday viewing, making it a potential candidate for a holiday-themed marketing campaign.
Profit Potential: High, due to the enduring popularity of the franchise and the potential for a successful remake or reboot.
Scene Level Percentiles
Emotions Elicited Percentiles
This is a rough estimate of how the average intensity of emotions elicited in this script compare to all scripts in the Vault (all genres).
Higher isn't necessarily better. This is FYI.
Screenplay Analysis
- The screenplay has a very strong concept ('conceptrating':86.16), plot structure ('plotrating':90.62), high stakes ('stakes':91.57), and excellent pacing ('pacing_score':97.32).
- The story also has a clear forward momentum ('story_forward':95.12) and emotional impact ('emotional_impact':70.54).
- Originality score is also high ('originality_score':83.93), indicating a unique and fresh approach.
- Character development ('charactersrating':37.5) and dialogue ('dialoguerating':45.54) need improvement, which could make the story more engaging and relatable.
- Internal and external goal scores are relatively low ('internal_goal_score':63.4, 'external_goal_score':50.89), suggesting that character motivation and objectives need further development.
- Formatting could be improved ('formatting_score':3.57), ensuring consistency and clarity in the presentation of the screenplay.
The writer demonstrates a conceptual style, with strong emphasis on concept, plot, originality, and pacing.
Balancing Elements- Developing characters and dialogue more thoroughly could help balance the strong concept and plot, making the story more engaging and relatable.
- Fleshing out character goals and motivations will provide a stronger foundation for the plot and enhance the emotional impact of the story.
The writer leans more towards the conceptual side, with high plot and concept percentiles and lower character/dialogue scores.
Overall AssessmentThe screenplay has a solid foundation with a compelling concept, engaging plot, and strong pacing. With more focus on character development, dialogue, and formatting, the story can become even more captivating and well-rounded.
How scenes compare to the Scripts in our Library
|
|
Percentile | Before | After |
---|---|---|---|---|
Scene Pacing | 8.86 | 98 | the black list (TV): 8.83 | Squid Game: 8.86 |
Scene High Stakes | 9.0 | 95 | Rambo First Blood Part II: 8.9 | face/off: 9.0 |
Scene Plot | 8.6 | 95 | Battlefield Earth: 8.5 | John wick: 8.6 |
Scene Story Forward | 8.8 | 95 | Rambo First Blood Part II: 8.7 | the dark knight rises: 8.8 |
Scene Conflict Level | 8.7 | 92 | Memento: 8.6 | the dark knight rises: 8.7 |
Scene Overall | 8.7 | 89 | Gladiator: 8.6 | the black list (TV): 8.7 |
Script Characters | 8.50 | 72 | Swingers: 8.25 | Titanic: 8.50 |
Scene Concept | 8.2 | 67 | Hot Fuzz: 8.1 | face/off: 8.2 |
Script Structure | 8.25 | 67 | Gladiator: 8.00 | Titanic: 8.25 |
Scene Unpredictability | 7.67 | 64 | Ghostbusters: 7.65 | Birdman: 7.67 |
Script Originality | 8.50 | 64 | Swingers: 8.25 | face/off: 8.50 |
Script Structure | 8.17 | 60 | The usual suspects: 8.15 | Blade Runner: 8.17 |
Scene Emotional Impact | 7.8 | 55 | Gran Torino: 7.7 | Blade Runner: 7.8 |
Scene Engagement | 8.98 | 54 | Titanic: 8.97 | Mr. Smith goes to Washington: 8.98 |
Scene External Goal | 7.26 | 54 | Witness: 7.25 | Rambo First Blood Part II: 7.26 |
Script Premise | 8.00 | 48 | Swingers: 7.75 | scream : 8.00 |
Script Emotional Impact | 7.75 | 46 | Inception: 7.50 | Erin Brokovich: 7.75 |
Scene Character Changes | 6.8 | 45 | Enemy of the State: 6.7 | True Blood: 6.8 |
Scene Dialogue | 7.6 | 43 | The Greatest Showman: 7.5 | the boys (TV): 7.6 |
Scene Internal Goal | 8.02 | 43 | Swingers: 8.00 | the pursuit of happyness: 8.02 |
Overall Script | 8.00 | 39 | Mo: 7.90 | fight Club: 8.00 |
Scene Originality | 8.60 | 34 | KILLING ZOE: 8.57 | Die Hard: 8.60 |
Scene Characters | 8.1 | 33 | Memento: 8.0 | the pursuit of happyness: 8.1 |
Script Theme | 8.00 | 30 | Swingers: 7.75 | Erin Brokovich: 8.00 |
Script Visual Impact | 7.25 | 14 | Breaking bad, episode 306: 7.00 | There's something about Mary: 7.25 |
Scene Formatting | 7.93 | 7 | Psycho: 7.90 | Scott pilgrim vs. the world: 7.93 |
Script Conflict | 7.00 | 6 | 500 days of summer: 6.75 | Breaking Bad: 7.00 |
Writer's Voice
Summary:The writer's voice is characterized by sharp dialogue, tense interactions between characters, and a focus on character dynamics. The scenes are filled with subtle moments of tension and conflict.
Best representation: Scene 39 - Hostage Situation: McClane's Brave Rescue. This scene is the best representation of the writer's voice because it showcases the writer's ability to blend tense and suspenseful dialogue, character dynamics, and action-packed sequences to create a gripping and emotionally engaging scene.
Memorable Lines:
- McClane: Yippee-ki-yay, motherfucker. (Scene 42)
- MCCLANE: It's okay...I'm a cop. (Scene 1)
- McClane: Welcome to the party, boys. We've been missing you. (Scene 15)
- McClane: Hans, you motherfucker, you've made your point. Let them pull back! (Scene 24)
- McClane: Drop it. (Scene 13)
Writing Style:
The screenplay combines elements of action, suspense, and character-driven narratives, often featuring high-stakes situations, sharp dialogue, and complex character dynamics.
Style Similarities:
- Shane Black
- John McTiernan
- Christopher Nolan
Story Shape
Emotions Elicited
Engine: Gemini
Recommend
Executive Summary
Die Hard is a highly engaging and well-crafted action thriller with a strong protagonist, memorable villains, and thrilling action sequences. While there is room for improvement in the development of some supporting characters, the overall screenplay is exceptional and has all the elements of a successful blockbuster.
- John McClane is a well-developed and relatable protagonist. He's a flawed hero with a sense of humor, making him engaging and endearing. high
- The action sequences are thrilling and well-choreographed, keeping the audience on the edge of their seats. high
- The pacing is excellent, with a good balance between action, suspense, and character development. high
- The relationship between John and Holly is complex and believable, adding emotional depth to the story. medium ( Scene 21 Scene 173 )
- The supporting characters, like Al Powell, are well-developed and contribute to the overall narrative. medium ( Scene 10 Scene 216 Scene 277 )
- Some of the villains, aside from Hans Gruber, could be further developed to provide more depth and motivation. medium
- The portrayal of female characters could be enhanced to give them more agency and depth beyond their relationships with the male characters. medium
Engine: Claude
Recommend
Executive Summary
Die Hard is a well-crafted and thrilling action-packed screenplay that delivers a compelling story with strong character development, effective use of suspense, and a climactic confrontation. The screenplay features a resourceful and determined protagonist, John McClane, who must navigate a hostile environment and confront a skilled and complex adversary, Hans Gruber. The script balances intense action sequences with emotional moments and character-driven storylines, creating a well-rounded and engaging narrative. Overall, Die Hard is a highly recommended screenplay that showcases the talent of its writers and the potential for a successful and engaging feature film.
- Strong character introductions for the protagonist John McClane and his family members, establishing their backstory and relationships. high ( Scene 1 (3) Scene 2 (6) )
- Effective use of suspense and tension as McClane navigates the building and evades the terrorists. high ( Scene 9 (15) Scene 10 (17) )
- The complex relationship between Holly and Hans is well-developed, adding depth to the conflict. medium ( Scene 28 (201) Scene 29 (209) )
- The climactic confrontation between McClane and Hans is thrilling and emotionally charged. high ( Scene 41 (472) )
- The final showdown between McClane and Karl provides a satisfying conclusion to the action. high ( Scene 42 (479) )
- Some scenes feel a bit exposition-heavy, which could be streamlined to maintain a faster pace. medium ( Scene 8 (13) Scene 15 (113) )
- The subplot involving the FBI agents could be more tightly integrated into the overall narrative. medium ( Scene 20 (149) Scene 21 (188) )
- More character development for the supporting cast, such as Theo and Ellis, could strengthen their roles. medium ( Scene 25 (184) )
- The resourcefulness and determination displayed by McClane throughout the story is a key strength. high ( Scene 19 (144) )
- The dialogue between McClane and the other characters, particularly Powell, is well-written and engaging. high ( Scene 27 (196) Scene 30 (220) )
- The emotional moments between McClane and his family add depth and personal stakes to the overall conflict. high ( Scene 37 (411) Scene 38 (430) )
Screenplay Insights:
Premise: 8.0, The screenplay's premise is strong, with a clear and engaging setup that introduces an intriguing conflict and compelling characters. The premise effectively establishes the stakes and motivations of the characters, creating a solid foundation for a compelling narrative. However, there are opportunities to enhance the premise's originality and depth by exploring certain aspects further and incorporating unique elements. See More
Structure: 8.25, The screenplay demonstrates a solid narrative structure and plot development, establishing a compelling conflict and building tension effectively. However, there are areas where the plot could be refined to enhance clarity, complexity, and emotional resonance. See More
Theme: 8.0, The screenplay effectively explores the themes of courage, resilience, and the fight against evil, with a strong message of hope and determination. However, it could benefit from further refinement in terms of thematic depth and emotional impact. See More
Visual Impact: 7.25, The screenplay's visual imagery effectively captures the intensity and claustrophobic atmosphere of a hostage situation within a high-rise building. It successfully conveys the protagonist's isolation and resourcefulness, while also highlighting the tactical strategies of the terrorists. While the imagery is generally vivid and supports the narrative, certain scenes could benefit from enhanced sensory details and a more distinctive visual style. See More
Emotional Impact: 7.75, The screenplay demonstrates a solid foundation for emotional engagement, with compelling character arcs and moments of intense conflict. However, it would greatly benefit from exploring emotional depth and complexity further, delving into the characters' vulnerabilities and exploring their emotional journeys thoroughly. See More
Conflict: 7.00, The screenplay presents a compelling conflict between John McClane and the terrorist group led by Hans Gruber, with high stakes involving the lives of hostages and the safety of the building. However, the narrative could benefit from enhancing the clarity of the central conflict and escalating the stakes more significantly to heighten tension and audience engagement. See More
Originality: 8.5, The screenplay showcases a high level of originality and creativity in its blend of action, suspense, and character dynamics. It presents a fresh take on the action genre, featuring an unconventional protagonist and a complex plot that keeps the audience engaged. The characters are well-developed and relatable, adding depth to the story and creating a strong emotional connection with the viewer. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- The scene opens with John McClane, a cop, sitting on a plane next to a chatty businessman. McClane is wary and takes off his shoes, revealing his gun. The setting shifts to the Nakatomi building where Holly Gennero McClane, John's wife, is working late and trying to avoid her coworker Harry's advances. The tone is light-hearted and humorous, with the businessman's conversation and Harry's advances providing the conflict.
- In this scene, Lucy McClane answers a phone call from her mother, Holly, who is worried about her husband, John, and asks the housekeeper, Paulina, to prepare the spare room. The scene then shifts to LAX, where John arrives and meets his limo driver, William. They engage in small talk and listen to rap music, while Holly remains anxious about John's whereabouts. The scene ends with John and William driving towards Century City, leaving the audience in anticipation of their destination.
- This scene takes place in two different locations: the Los Angeles Police Station and the Nakatomi building in Century City, both at night. At the police station, Sergeant Al Powell handles a minor crisis while on a phone call with his pregnant wife. Meanwhile, John McClane arrives at the Nakatomi building and is greeted by his wife Holly's assistant, Harry Ellis, leading to tension between them. Takagi, the president of Nakatomi, introduces himself and Holly to McClane. The main conflict in this scene is the tension between McClane and Ellis, while another conflict is Powell's struggle to maintain order in the police station while dealing with his wife's pregnancy cravings. The tone of this scene is tense and uncomfortable.
- A UPS truck enters Nakatomi Plaza's underground garage, while William, unaware, stays in his limo. Holly and McClane reunite in Ellis' office, discussing McClane's stay, leading to a friendly moment. McClane calls his contact, looking at a photo of his children, as Holly offers her spare bedroom for the night.
- In this tense and violent scene, two businessmen, Theo and Karl, enter a building and murder the guard on duty. Theo accesses the control room and locks down the elevators, closes the parking garage gates, stops the escalators, and turns off the air conditioning. Hans Gruber steps out of the service elevator and locks the front door, while Heinz changes into the dead guard's clothes. The group takes control of the building, and the scene ends with the elevators, escalators, and air conditioning locked down.
- John McClane tries to call for help but finds the phone lines dead. He realizes the terrorists have cut the phone lines in the basement and hears gunshots and screams as Hans and his group approach the 32nd floor. McClane quickly runs up to the 34th floor, but all the phones there are dead as well. Meanwhile, Hans and his group collect identification from the hostages and Takagi is brought into Holly's office. Hans feels McClane's coat, which Franco brought in after checking Ellis' office. The scene ends with Hans feeling McClane's coat in Holly's office, as Takagi is brought in and the terrorists begin collecting identification from the hostages. The main conflict in this scene is that McClane is trying to call for help, but the terrorists have cut the phone lines, adding to the tense and action-packed tone.
- John McClane continues his exploration of Nakatomi Plaza, finding floors filled with hostages and computers. He overhears a conversation between Hans, Takagi, Karl, and Tony in an elevator. Later, McClane observes James, Uli, and Heinrich unloading crates. He then stumbles upon Hans' group in a conference room, where they threaten Takagi for a pension plan access number, leading to Takagi's murder when he doesn't provide the information. The scene is tense and suspenseful, with McClane witnessing Takagi's murder from a nearby stairwell door.
- John McClane overhears a conversation between two terrorists and realizes he needs to warn someone about the threat. He sets off a fire alarm, but the fire trucks are called off, confirming his suspicion of inside help. McClane hides from a guard, Tony, disarms him, and leaves him injured but alive. The scene ends with McClane finding the terrorist's CB in Tony's kit bag.
- John McClane continues his fight against the terrorists in Nakatomi Plaza, taking a dead man's boots, machine gun, and kit bag. He stops the elevator between floors, pries open the doors, and climbs to the roof. On the hostage floor, Hans and his men find Tony's body and realize someone is resisting. McClane, hiding on the elevator roof, hears their conversation and climbs to the roof, using the CB to call for police backup. The scene ends with McClane under fire from Karl.
- In this tense and action-packed scene, McClane continues his rooftop run from the terrorists, entering the pump room and climbing down the elevator shaft. He then lowers himself into an air shaft, but one of the clips gives way, causing him to fall and grab the ledge of the duct. Meanwhile, the terrorists Karl, Franco, and Fritz reach the pump room and enter the elevator shaft, with Karl discovering McClane's rifle. The scene ends with McClane hanging onto the ledge of the air duct, still evading the terrorists.
- John McClane crawls through the air ducts of the Nakatomi Plaza building, exhausted but determined to evade the terrorists searching for him. As Karl, Franco, and Fritz split up and search the lower roof and machine floor, Karl shoots at the air ducts nearly hitting McClane. However, Franco calls Karl away before he can discover McClane's location. The scene ends with McClane waiting with his gun ready as Karl leaves the area.
- Dick Thornburg, a persistent news reporter, demands a crew to cover a shooting incident on Christmas Eve, causing tension and chaos in the KCBS control booth. Despite the crew's desire to go home, Thornburg's insistence and threat to steal a news truck forces the news editor, Sam, to assign him a crew. Meanwhile, the anchorman, Harvey Johnson, realizes he doesn't have the Gladden report, adding to the chaos. The scene ends with Thornburg leaving the control booth and the Nightline News beginning its broadcast with a flustered Harvey.
- Powell, a police officer, arrives at the Nakatomi building and enters after being let in by Heinz. Meanwhile, McClane continues his assault on the building, making his way to the board room on the 40th floor and breaking a window to signal his presence. Marco, a terrorist, confronts McClane in the board room, leading to a shootout in which McClane kills Heinrich and wounds Marco. Theo continues to work on opening the safe in a separate room. The scene ends with McClane and Marco exchanging gunfire and Theo still working on the safe.
- Powell (a cop) returns to the Nakatomi building's lobby, missing the pool of blood but leaving bloody footprints. He converses with Heinz about the supposed terrorist takeover, remaining oblivious. Meanwhile, McClane observes Powell from the 40th floor. After checking in on his radio, Powell heads to his car, where Marco's body lands, prompting him to drive away in fear and request backup.
- John McClane reunites with Sergeant Al Powell over the radio, informing him about the situation at Nakatomi Plaza. McClane spares a terrorist named Theo due to his clean-cut appearance, and they overhear Powell's transmission. McClane advises Powell to find someone who speaks German to monitor the terrorists' communications. The scene takes place at Nakatomi Plaza, with McClane and Theo on the 40th floor's corridor and the hostage wing, while Powell is in a police operations trailer outside the building. The main conflict is the confrontation between McClane and Theo, which is resolved when McClane decides not to shoot him. The tone is tense and suspenseful, with moments of relief and camaraderie between McClane and Powell.
- Deputy Chief of Police Operations Dwayne T. Robinson arrives at the Nakatomi Plaza and is briefed by Sergeant Al Powell about the hostage situation. Meanwhile, John McClane finds plastic explosives and detonators on the 39th floor and takes them for leverage. Theo, one of the terrorists, tries to take the explosives back, leading to a standoff where McClane kills Theo. This tense and action-packed scene ends with McClane taking the explosives and detonators with him, increasing his leverage in the hostage situation.
- McClane hides the detonators in the trash can under the desk, calls Powell and Robinson to inform them about the high explosives and Theo's death. Robinson instructs a technician to record the conversation. The scene is tense and urgent, with a sense of danger and impending disaster. The conflict of the high explosives and detonators is not resolved, but McClane's possession of the detonators is a step towards resolving it.
- In this tense scene, Hans calls McClane offering a truce but gets provoked instead. McClane taunts Hans, who reveals some group members want to kill McClane. Hans tries to learn McClane's identity, but McClane avoids answering. Robinson, frustrated with the FBI agents (Johnson and Johnson) getting in his way, tells them to stay out of his way. This takes place in Hans' office, with Hans and McClane communicating via radio.
- In the hostage floor of Nakatomi Plaza, Hans, the leader of the hostage situation, remains focused on his mission while Karl searches for the detonators. Holly, one of the hostages, attempts to negotiate with Hans, revealing her common-sense understanding of the police's intentions. Meanwhile, William, an unrelated character, learns about the hostage situation on TV and realizes he's in danger, ending the scene with him canceling his call to 911. The scene is tense and suspenseful, with moments of philosophical reflection from Hans.
- On the 37th floor, McClane prepares for a fight, while terrorists Fritz, Franco, and Karl search for him. In the police trailer, new characters gather as they learn about the unidentified gunman and the hostage situation. The scene concludes with the SWAT team, City Engineer, and mayor's office liaison joining the trailer, readying for discussions and strategizing.
- John McClane, trapped on the 37th floor of Nakatomi Plaza, communicates with Al Powell through CB radios as he expresses his need for coffee. Meanwhile, the police force, led by Deputy Chief Dwayne T. Robinson and Captain Carmine Lorenzo, discuss their plans to deal with the hostage situation. Sergeant Henry and his team consider sending two men through the sewers, but Henry opposes this idea due to the building's four-story deep reverse flow conduit. The scene ends with Henry expressing his doubts about Mitchell's plan, leaving the conflict unresolved.
- McClane, hiding on the 37th floor of Nakatomi Plaza, talks to Powell over the CB radio but hangs up to investigate noises, confronting several terrorists and escaping to a stairwell. He steps on broken glass, injuring his foot and leaving a blood trail. The conflict between McClane and the terrorists is not resolved, but the scene ends with McClane hobbling away, injured but alive.
- In the evening, a huge spotlight shines on Nakatomi Plaza, attracting the attention of Hans and his associates. McClane, injured but determined, contacts Powell through CB radio to inform him about the situation. Two SWAT officers prepare to act in a nearby apartment building. Inside Nakatomi Plaza, Hans shares his excitement about the imminent confrontation with Holly. The scene is tense and suspenseful, with the main conflict being the impending confrontation between McClane and the terrorists. The scene ends with the SWAT officers getting ready to advance in the apartment building, heightening the anticipation for future encounters.
- Two SWAT officers, Mitchell and Robinson, oversee their team cutting through the garage gates of Nakatomi Plaza. Meanwhile, terrorists James and Alexander fire at the SWAT team and armored car from the 38th floor. McClane, on the same floor, communicates with Powell via CB radio, feeling helpless as he listens to the tense and action-packed scene unfold. The conflict remains unresolved, with the armored car destroyed and two SWAT officers wounded, while Hans oversees the attacks from his office.
- In a chaotic and destructive scene, McClane triggers an explosion on the 38th floor, eliminating a machine gun nest. The blast, heard by various characters, including the police, William in the parking garage, and Dick Thornburg's news crew, creates confusion and panic. Simultaneously, James and Alexander prepare an anti-tank gun on the 3rd floor, targeting a second armored car. The hostages and terrorists on the hostage floor are also affected by the explosion, adding to the existing conflicts. Amidst the chaos, Mitchell tries to communicate with the police officers trapped in the armored car, and McClane shouts 'Geronimo...motherfuckers' before detonating the explosion. The scene concludes with the aftermath of the explosion, leaving the building in ruins and the characters in shock.
- John McClane, inside Nakatomi Plaza, communicates with Sergeant Al Powell outside the building via CB radio, reporting an explosion caused by the villains. Deputy Chief of Police Dwayne T. Robinson takes over the radio, confronting McClane about his actions. McClane defends himself, leading to a tense and confrontational exchange. The scene underscores the high stakes and urgency of the hostage situation, with McClane refusing to surrender and demanding Robinson to put Al back on the radio.
- In this scene, McClane continues to argue with Powell about the deputy police chief while Holly and Ellis are in Hans' office. Ellis, feeling confident, decides to negotiate with Hans, putting himself in danger. Meanwhile, McClane, exhausted, talks to Powell about their families and receives a message from Hans, who reveals they have McClane's colleague, Ellis. The scene ends with Hans' revelation, potentially changing the situation.
- Ellis, held hostage on the 32nd floor, is pampered by the terrorists and given a radio to communicate with McClane. Hans demands the location of the detonators, but McClane refuses. Tensions rise as Hans threatens to kill Ellis, and Ellis tries to persuade McClane to give in. The scene ends with Hans preparing to shoot Ellis, leaving the outcome uncertain.
- In Hans' office on the 32nd floor, Hans kills hostage Ellis and threatens to kill more if McClane doesn't comply with demands. McClane negotiates for 20 minutes via CB radio, while a furious Robinson confronts McClane over Ellis' death. The scene is tense and suspenseful, with visuals of Ellis' blood on the glass walls. The scene ends with McClane angrily turning off the radio, struggling to his feet.
- Robinson, the police chief, angrily confronts Powell about McClane's actions, threatening to jail him. Powell defends McClane, who continues his mission inside the Nakatomi building. The police intercept a message from the terrorists calling for Robinson and attempt to negotiate for the release of hostages. The scene takes place in a police trailer outside the building, at night, and highlights the conflicts between Robinson and Powell and between the police and the terrorists.
- Robinson refuses to talk to Powell and leaves. McClane, who is wounded, converses with Powell on the radio, revealing that he accidentally shot a kid. Franco, who is eavesdropping, communicates with someone in German, causing William to worry. Suddenly, Franco appears and starts shooting at McClane, but William warns him in time. The scene is tense and suspenseful, with significant visuals of Franco attacking McClane, and it ends with McClane avoiding Franco's shots.
- In this intense scene, McClane is chased by Franco on the rooftop of a building in Century City. With his ammunition running low, McClane hides in a stairwell and Franco finds him. They reach the roof, where Franco discovers McClane's badge. Meanwhile, Powell and Robinson coordinate with snipers to find McClane. In a clever move, McClane tricks Franco into thinking he has the detonators, but it's actually a handful of nothing. Franco is then shot by a sniper, and McClane picks up Franco's CB to communicate with Powell. This scene is filled with tension, action, and a sense of urgency as McClane tries to stay alive and out of Hans' grasp.
- Set on the roof of Nakatomi Plaza, McClane discovers a bag containing a Beretta and a Mars bar, and communicates with Powell and Williams on the CB radio. He learns about the involvement of SWAT and the FBI, and though hesitant, prepares to rappel down the building. As he cuts a harness from a dead man's kit bag and focuses on the large plate windows, he overhears Hans' men making plans, causing him to pause and listen.
- In this intense and action-packed scene, McClane on the Nakatomi roof confronts three helicopter gunships. With Powell's confirmation and William's disruptive rap music, McClane takes on the terrorists. He fires at the helicopters, causing one to explode and deterring the others. Amidst the chaos, McClane's wit and bravery save the day, ending the scene with him victorious.
- A helicopter explodes over the rooftop where McClane and Karl are, and McClane survives by rolling off the building and crashing through a window into a 4th floor office. Believing McClane to be dead, Karl broadcasts this to his allies. However, McClane, who is injured, enters the 40th floor office, sees family photos, and collapses in pain, ending the scene.
- In this scene, SWAT officers surround William's limo as he identifies himself as 'Taco Bill' to avoid being shot. Meanwhile, McClane returns to the 37th floor, washes his leg, and watches the news coverage of the explosion. He sarcastically remarks about a policeman claiming to have killed seven of the gang, expressing frustration and urgency in the ongoing conflict.
- In this tense and suspenseful scene, Uli approaches the stairwell door on the 37th floor, causing McClane to take aim at the explosive he planted earlier. An explosion is heard, and McClane finds the terrorist's machine gun. Meanwhile, on TV, Powell reveals that McClane wasn't adequately warned about the attack, causing frustration and anger. The scene ends with McClane finding the machine gun and Holly gasping at the sight of her children on TV, indicating a conflict and danger to them.
- Hans, holding Holly captive, speaks to her children through a microphone and asks them if they have anything to say to their parents. Meanwhile, McClane listens in and follows Hans' demands to put detonators on an elevator and send them to the 39th floor. McClane and Holly reassure each other over the CB, creating a private moment amidst the chaos and tension. The scene takes place in Hans' office on the 32nd floor and Holly's house on Thornburg, highlighting the emotional and physical distance between the two characters.
- In this action-packed scene, McClane attempts to rescue hostages on the 32nd floor while Karl, one of the villains, prepares detonators on the 39th floor. Holly, McClane's wife, is conversing with the main villain, Hans, unaware that McClane is nearby. As Holly starts to move towards McClane, Karl sets off an explosion, causing the police to move in while Hans takes Holly and heads towards the elevators.
- On the roof of the Nakatomi building, Heinze readies a Stinger missile as a helicopter approaches. Inside, McClane practices drawing his gun while Hans, armed, waits in the 39th floor lobby, firing at empty elevator cars. McClane turns off his radio and moves towards the elevator bank where Hans and Holly are. Hans takes Holly as a shield and points his gun at McClane, who then shoots Hans, causing them both to fall out of a window. This intense and action-packed scene is filled with conflict as McClane faces off with Hans and Karl, and Holly is taken as a hostage.
- John McClane and Holly are safely escorted out of the Nakatomi building by the SWAT team, but their relief is short-lived as they are met with a crowd of reporters and TV cameras. McClane finds his friend Powell in the crowd and they shake hands, with McClane commenting that it will be hard to return to his desk. However, the tension quickly rises when Karl appears in the doorway with an M-5 machine gun, creating a conflict for McClane and the others.
- As the press panics, McClane disarms Karl with the help of Powell's shot. With the main conflict resolved, McClane shares a moment with Powell before accepting a ride home from William. The scene ends with McClane leaving the Nakatomi building and driving away with Holly, bringing a sense of relief and closure.
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Character Holly Gennaro McClane
Description Holly's sudden willingness to let John stay at her house, despite their strained relationship and her established life in LA, seems somewhat abrupt and driven by the need to keep John involved in the plot.
( Scene 21 (21) ) -
Character Harry Ellis
Description Ellis's cocaine use and his attempt to negotiate with Hans seem out of character, especially given his initial portrayal as a slick and somewhat superficial businessman.
( Scene 16 (16) Scene 21 (21) )
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Description The fire department's response to the alarm is inconsistent. Initially, they are dispatched but then inexplicably called off despite the severity of the situation.
( Scene 75 (75) Scene 77 (77) ) -
Description The FBI's sudden takeover of the operation and their decision for an airstrike without proper justification or communication with the local police feels forced and illogical.
( Scene 173 (173) )
-
Description The terrorists' plan to detonate the roof after getting the detonators back doesn't make logical sense. Their objective was to steal the bearer bonds, not destroy the building.
( Scene 432 (432) Scene 436 (436) ) -
Description The layout of the Nakatomi building is inconsistent, particularly the accessibility of the 39th floor, which is initially locked but later becomes accessible through the stairwell.
( Scene 56 (56) Scene 179 (179) )
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Description The dialogue between Holly and her young daughter Lucy feels overly formal and lacks the naturalness of a typical mother-child conversation.
( Scene 2 (6) ) -
Description William's constant barrage of personal questions towards John, a complete stranger, feels intrusive and unrealistic, even considering his youth and inexperience.
( Scene 8 (8) Scene 9 (9) )
-
Element John McClane's internal monologues
Suggestion While John's internal thoughts provide insight into his character, some of them could be trimmed or conveyed through action and dialogue to streamline the pacing. -
Element Descriptions of Karl's anger and physicality
Suggestion The repeated emphasis on Karl's imposing presence and anger could be reduced and implied through his actions and interactions with other characters.
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
John Mcclane | John McClane's character arc in the screenplay starts with him as a weary cop trying to reconcile with his wife, Holly. As the story progresses, he is thrust into a dangerous situation at Nakatomi Plaza, where he must use his quick thinking and bravery to save the hostages and defeat the terrorists. Throughout the film, he evolves from a reluctant hero to a determined and resourceful protagonist, willing to risk everything for the greater good. His arc culminates in a climactic showdown where he must confront his inner demons and make the ultimate sacrifice to save the day. | The character arc for John McClane is well-developed, showcasing his evolution from a weary cop to a heroic figure. However, to enhance the arc, there could be more emphasis on his internal struggles and emotional growth throughout the story. Additionally, exploring his relationship with Holly in more depth could add layers to his character and provide a stronger emotional payoff in the climax. | To improve the character arc, consider incorporating more moments of introspection and vulnerability for John McClane to showcase his internal conflicts and emotional journey. Develop his relationship with Holly to add depth to his character and create a stronger emotional connection with the audience. Additionally, explore themes of redemption and sacrifice to further highlight his transformation from a reluctant hero to a selfless protector. |
Holly | Holly starts off as a strong and independent woman who still harbors feelings for her ex-husband. Throughout the film, she is forced to confront her fears and vulnerabilities as she navigates dangerous situations to protect her loved ones. By the end of the film, Holly emerges as a resilient and courageous character who has learned to embrace her emotions and face her fears head-on. | The character arc for Holly is well-developed, showcasing her growth and transformation throughout the film. However, there could be more depth added to her internal struggles and conflicts to make her journey even more compelling. Additionally, providing more backstory or flashbacks to explore her past relationship with John could enhance the emotional impact of her character arc. | To improve the character arc for Holly, consider incorporating more scenes that delve into her past and explore the reasons behind her emotional vulnerabilities. This could help the audience better understand her motivations and actions throughout the film. Additionally, adding moments of self-reflection and introspection for Holly to confront her inner demons could add layers to her character development. |
Karl | Karl starts off as a ruthless and cold-hearted terrorist who follows orders without question. As the story progresses, he becomes more focused on his personal vendetta, driven by a desire for revenge. This leads him to become even more ruthless and formidable, using his skills as a fighter and tactician to outsmart his opponents. However, in the climax of the story, Karl is faced with a moral dilemma that challenges his beliefs and forces him to question his actions. Ultimately, he must decide between continuing down his path of vengeance or finding redemption. | The character arc for Karl is well-developed and provides a clear progression for his motivations and actions throughout the story. However, there could be more depth added to his internal struggles and conflicts, especially when he is faced with the moral dilemma. This would make his character more complex and relatable to the audience. | To improve the character arc for Karl, consider adding more scenes that delve into his past experiences and how they have shaped his desire for revenge. Show more internal conflict and moments of vulnerability to make him a more well-rounded character. Additionally, explore his relationships with other characters in more depth to provide further insight into his motivations and actions. |
Theo | Theo starts off as a clean-cut and not overtly threatening member of the group, adapting quickly to situations with a level of intelligence and cunning. As the story progresses, his desperation and ruthlessness come to the forefront, leading him to become more manipulative and violent. Ultimately, Theo's arc culminates in a confrontation where his true nature is revealed, resulting in a dramatic and intense climax. | The character arc for Theo is well-developed and provides a clear progression of his motivations and actions throughout the feature. However, there could be more depth added to his transformation from a seemingly harmless member to a ruthless terrorist. Exploring his backstory or inner conflict further could enhance the audience's understanding of his character. | To improve the character arc for Theo, consider incorporating flashbacks or dialogue that delves into his past experiences or motivations. This could provide insight into why he is willing to go to such extreme lengths to achieve his goals. Additionally, adding moments of vulnerability or internal struggle can make his transformation more compelling and relatable to the audience. |
Hans Gruber | Hans Gruber starts off as a confident and calculating villain who is in control of the situation. However, as the story progresses, his facade begins to crack, revealing moments of vulnerability and doubt. He is ultimately defeated by the protagonist in a climactic showdown, showcasing his downfall and the consequences of his actions. | The character arc for Hans Gruber is well-developed, showing a progression from a powerful and intimidating villain to a more vulnerable and ultimately defeated antagonist. However, to enhance the arc, there could be more exploration of his backstory and motivations to add depth to his character. Additionally, incorporating moments of redemption or remorse could make his downfall more impactful and provide a more satisfying resolution for the audience. | To improve the character arc for Hans Gruber, consider adding flashback scenes or dialogue that delve into his past and reveal the events that shaped him into the ruthless leader he has become. This will add complexity to his character and make his actions more understandable to the audience. Additionally, exploring his relationships with other characters, such as his henchmen or a potential backstory with the protagonist, could add layers to his motivations and make his ultimate defeat more emotionally resonant. |
Powell | Powell starts off hesitant and unsure, but as the story progresses, he gains confidence and proves himself to be a valuable ally to McClane. Through his interactions with McClane, he confronts his troubled past and finds redemption, ultimately becoming a trusted friend and partner in the fight against the antagonist. | The character arc for Powell is well-developed, but it could benefit from more internal conflict and growth. Exploring his troubled past in more depth and showing how it affects his decisions and actions throughout the story could add depth to his character. Additionally, giving him more agency and moments of decision-making could make his arc more impactful. | To improve the character arc for Powell, consider adding scenes that delve deeper into his past and show how it influences his present actions. Give him more moments of internal conflict and decision-making to showcase his growth and development throughout the story. Additionally, consider giving him a more active role in the resolution of the conflict, allowing him to play a more significant part in the climax of the film. |
Sergeant Al Powell | Sergeant Al Powell starts off as a supportive and understanding character, trying to mediate between McClane and the police force. As the crisis escalates, he is forced to confront his own fears and doubts, ultimately overcoming them to take decisive action and help McClane save the day. Through his character arc, Powell learns to trust his instincts, face his fears, and embrace his role as a hero in the face of danger. | The character arc for Sergeant Al Powell is well-developed and provides a satisfying resolution to his journey. However, to further enhance his arc, it would be beneficial to explore more of Powell's personal struggles and motivations that led him to become a police officer. This would add depth to his character and make his transformation more impactful. | To improve the character arc for Sergeant Al Powell, consider incorporating flashbacks or dialogue that delve into his past experiences and traumas that have shaped his character. This will provide a deeper understanding of his motivations and fears, making his transformation more compelling. Additionally, consider giving Powell a more active role in the climax of the story, where he plays a crucial part in resolving the crisis alongside McClane. |
Hans | Hans starts off as a powerful and controlling antagonist, confident in his abilities to manipulate and intimidate. As the story progresses, he faces unexpected challenges that force him to adapt his tactics and confront his own vulnerabilities. Through a series of escalating conflicts with John McClane, Hans begins to unravel, losing his composure and control. In the climax, he is ultimately defeated by McClane, leading to his downfall and demise. | The character arc for Hans is well-developed, showcasing his evolution from a powerful and controlling villain to a vulnerable and defeated antagonist. However, there could be more depth added to his motivations and backstory to make his transformation more impactful. Additionally, exploring his relationships with other characters, such as his fellow terrorists or hostages, could provide more insight into his psyche and add complexity to his character. | To improve the character arc for Hans, consider delving deeper into his backstory and motivations. What drives him to commit acts of terrorism? What are his ultimate goals and desires? By providing more context to his character, the audience can better understand his actions and empathize with his journey. Additionally, exploring his relationships with other characters can add layers to his personality and create more dynamic interactions throughout the screenplay. |
Mcclane | John McClane starts off as a confident and rebellious police officer who is thrust into a high-pressure situation with terrorists. Throughout the screenplay, he faces physical and emotional challenges that test his resilience and determination. As the story progresses, McClane evolves into a selfless hero willing to sacrifice himself for the greater good. By the end of the film, he emerges as a symbol of courage, justice, and unwavering determination. | The character arc for John McClane is well-developed, showcasing his growth from a confident officer to a selfless hero. However, to enhance the arc, there could be more exploration of McClane's internal struggles and vulnerabilities. This would add depth to his character and make his transformation more impactful for the audience. | To improve the character arc, consider incorporating moments of introspection where McClane grapples with his fears and doubts. This will humanize him and make his journey more relatable to the audience. Additionally, explore his relationships with other characters to further highlight his growth and development throughout the screenplay. |
Al Powell | At the beginning of the screenplay, Sergeant Al Powell is introduced as a reliable and supportive police officer who communicates effectively with McClane. As the story progresses, Powell's loyalty and empathy towards his colleagues are tested as he faces challenges and obstacles in helping McClane and the hostages. Despite the pressure, Powell remains calm and focused, ultimately proving his dedication and courage in the face of danger. | The character arc for Sergeant Al Powell is well-developed, showcasing his growth and resilience throughout the screenplay. However, to enhance his arc further, there could be more exploration of Powell's personal struggles or conflicts that add depth to his character and provide a more emotional impact on the audience. Additionally, incorporating moments of self-doubt or internal conflict could make his journey more compelling and relatable. | To improve the character arc for Sergeant Al Powell, consider adding scenes that delve into his backstory or personal life to provide a deeper understanding of his motivations and values. Showcasing moments of vulnerability or internal conflict can make his character more dynamic and engaging for the audience. Additionally, exploring Powell's relationships with other characters in more depth can add layers to his arc and create more opportunities for growth and development. |
Theme | Theme Details | Themee Explanation | ||
---|---|---|---|---|
Survival | John McClane's struggle to survive the terrorist attack, his wary attitude towards other characters, and his determination to save hostages | The screenplay heavily emphasizes the theme of survival, with the protagonist John McClane fighting against a group of terrorists in order to save hostages and himself. This theme is evident in McClane's actions throughout the screenplay, such as his wary attitude towards other characters, his determination to save hostages, and his physical and mental struggles to survive the ordeal. | ||
Strengthening Survival:
| ||||
Marital Relationships | John and Holly McClane's relationship, including their reunion and Holly's relationship with her coworkers | The screenplay also explores the theme of marital relationships, particularly through the relationship between John and Holly McClane. The screenplay shows their reunion, Holly's relationship with her coworkers, and the tension between John and Holly's coworker Harry Ellis. This theme is used to add depth to the characters and to create a more personal connection between the audience and the story. | ||
Law Enforcement | The actions of the police force, including Sergeant Al Powell and Deputy Chief Dwayne T. Robinson | The screenplay also touches on the theme of law enforcement, with the actions of the police force playing a significant role in the story. The screenplay shows the police force's response to the terrorist attack, including the actions of Sergeant Al Powell and Deputy Chief Dwayne T. Robinson. This theme is used to add tension and drama to the story, as well as to explore the challenges and limitations of law enforcement in a high-pressure situation. | ||
Betrayal | The actions of the terrorists, including their betrayal of the hostages and their use of inside help | The screenplay also explores the theme of betrayal, with the actions of the terrorists playing a significant role in the story. The screenplay shows the terrorists' betrayal of the hostages, as well as their use of inside help to carry out their attack. This theme is used to add tension and drama to the story, as well as to explore the consequences of betrayal and the importance of trust. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Goals and Philosophical Conflict | |
---|---|
internal Goals | Description of the protagonist's internal goals as they evolved throughout the script |
External Goals | Description of the protagonist's external goals as they evolved throughout the script |
Philosophical Conflict | Description of the overarching philosophical conflict and how it intertwines with the protagonist's journey |
Character Development Contribution: How the goals and conflict contribute to the character's development
Narrative Structure Contribution: How the goals and conflict contribute to the narrative structure of the screenplay
Thematic Depth Contribution: How the goals and conflict contribute to the thematic depth of the screenplay
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - An Uneasy Flight and Late Night Work | Tense, Suspenseful, Witty | 8 | 8 | 7 | 7 | 9 | 6 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
2 - Preparing for John's Arrival: Warm Conversations and Limo Rides | Affectionate, Light-hearted, Reflective | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
3 - Tense Greetings and Christmas Cheer: McClane Arrives at Nakatomi while Powell Handles Police Station Crisis | Tense, Suspenseful, Awkward, Formal | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
4 - Arrival at Nakatomi Plaza and Reunion of Holly and McClane | Tense, Emotional, Intimate | 8 | 7 | 8 | 7 | 9 | 6 | 8 | 7 | 6 | 6 | 6 | 8 | 6 | 9 | 8 | 8 | 8 | 8 | 9 | |
5 - Takeover of the Building and Murder of the Guard | Suspenseful, Intense, Dark | 9 | 9 | 8 | 8 | 8 | 6 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 9 | 9 | |
6 - McClane's Failed Attempts to Call for Help and Hans' Approach on the 32nd Floor | Tense, Suspenseful, Menacing, Intense | 9 | 9 | 8 | 8 | 8 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 8 | 9 | |
7 - McClane Witnesses Takagi's Murder After Uncovering Terrorists' Plans | Tense, Suspenseful, Menacing | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
8 - McClane Alerts Authorities and Disarms a Guard | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
9 - McClane's Elevator Escape and Call for Backup | Intense, Suspenseful, Dramatic | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
10 - McClane's Daring Escape into the Air Shaft | Intense, Suspenseful, Tense | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 7 | 8 | |
11 - McClane's Narrow Escape in the Air Ducts | Intense, Suspenseful, Tense | 9 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 6 | 9 | 9 | 7 | 8 | |
12 - Aggressive Reporter Disrupts Pre-Christmas News Broadcast | Tense, Suspenseful, Angry, Panicked, Determined | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
13 - McClane's Assault and Powell's Arrival | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
14 - Powell's Unaware Escalation: From Lobby to Car | Intense, Suspenseful, Terrifying, Tense, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
15 - McClane Spares Theo and Communicates with Powell | Intense, Suspenseful, Tense | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
16 - McClane's Standoff with Theo: A Tense Confrontation | Intense, Suspenseful, Serious | 9 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
17 - McClane's Warning | Intense, Suspenseful, Serious | 8 | 8 | 9 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | |
18 - Hans' Truce Offer Rejected; Robinson's Frustration with FBI Agents | Tense, Suspenseful, Confrontational, Sarcastic | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 9 | 7 | 8 | |
19 - Hans Remains Resolute as Holly Attempts to Negotiate and William Realizes His Danger | Tense, Suspenseful, Intense, Dramatic | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
20 - McClane Fortifies, Terrorists Pursue, and New Personnel Arrive at the Police Trailer | Intense, Suspenseful, Tense, Dramatic | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 7 | 8 | |
21 - Hostage Situation Discussion and Disagreement over Sewer Plan | Tense, Suspenseful, Intense, Dramatic | 8 | 7 | 9 | 9 | 8 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
22 - McClane's Escape from the Terrorists | Intense, Suspenseful, Tense | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
23 - Preparing for Confrontation: Spotlight on Nakatomi Plaza | Intense, Suspenseful, Tense, Dramatic | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | |
24 - Attack on the SWAT Team at Nakatomi Plaza | Tense, Suspenseful, Intense | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 9 | |
25 - Explosive Inferno at Nakatomi Plaza | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
26 - Hostage Situation Radio Confrontation | Intense, Confrontational, Furious | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
27 - McClane's Frustration and Ellis' Negotiation Attempt | Tense, Suspenseful, Intense, Dramatic | 9 | 8 | 9 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
28 - Ellis' Fate Hangs in the Balance: A Standoff between McClane and Hans | Tense, Suspenseful, Intense, Dramatic | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
29 - Hans Threatens More Hostages; McClane Negotiates and Mourns Ellis' Death | Tense, Intense, Confrontational | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
30 - Confrontation and Negotiation: A Tense Standoff | Tense, Intense, Confrontational | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
31 - McClane Evades Franco's Attack | Tense, Suspenseful, Serious | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
32 - McClane's Rooftop Escape and Franco's Demise | Tense, Suspenseful, Dramatic, Intense | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 7 | 8 | |
33 - Preparing for Descent: McClane Uncovers a Threat | Tense, Suspenseful, Determined, Anxious | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 7 | 8 | |
34 - McClane vs. Helicopter Gunships: A Roof Showdown | Intense, Suspenseful, Dramatic | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
35 - McClane's Narrow Escape and Collapse | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
36 - Taco Bill and McClane's Frustration | Intense, Suspenseful, Sarcastic | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 7 | |
37 - McClane Confronts Uli and Discovers Danger to Holly's Children | Intense, Suspenseful, Dramatic, Tense | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
38 - Hans Interviews Holly's Children; McClane and Holly Reconnect Over CB | Tense, Emotional, Suspenseful | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
39 - McClane Rescues Hostages as Explosion Rocks 39th Floor | Intense, Suspenseful, Emotional | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
40 - Hostage Situation: McClane's Brave Rescue | Tense, Dramatic, Suspenseful | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | |
41 - McClane and Holly's Escape Turns Tense as Karl Appears | Intense, Suspenseful, Dramatic, Tense | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
42 - Escape from the Nakatomi Building | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- Intense action sequences with high stakes and tension-filled atmosphere
- Effective use of sharp dialogue to establish character dynamics
- Emotional depth in characters to create engaging character interactions
- Intriguing and complex characters for strong protagonist vs. antagonist dynamic
- Strategic setup of conflict with clear introduction of key characters
Scene Weaknesses
- Cliched dialogue and plot points
- Limited character development for minor and secondary characters
- Minimal dialogue and emotional depth in some scenes
- Potential for confusion with complex plot and multiple storylines
- Predictable outcomes in some moments
Suggestions
- Focus on character development for minor and secondary characters to create more impactful and interesting interactions
- Avoid cliche dialogue and plot points by exploring new and original ways to tell the story
- Provide more emotional depth in scenes to create higher stakes and engaging character interactions
- Simplify complex plot and multiple storylines to avoid confusion for the audience
- Create more unexpected and unpredictable moments to keep the audience engaged
- Physical environment: The screenplay takes place in various locations, including airports, office buildings, a high-rise building, a police station, and a parking garage, all set in Los Angeles. The physical settings contribute to the atmosphere of the scene by creating a sense of familiarity, contrast, or danger.
- Culture: The cultural elements in the screenplay are primarily American, but there is also a Salvadorian character, Paulina, who adds diversity and cultural richness to the scene. The cultural element of Christmas is present in several scenes, adding a festive but ironic tone to the dangerous situations.
- Society: The societal structures in the screenplay include a family dynamic with a working mother and her daughter, a corporate environment, law enforcement, and a hostage situation. These societal structures highlight the challenges of balancing work and family life, the tension between law enforcement and criminals, and the power dynamics in a crisis situation.
- Technology: The technological aspects in the screenplay include the use of phones, typewriters, cassette players, CB radios, and security cameras. These technological elements contribute to the realism of the scene and add tension, urgency, or surveillance to the atmosphere.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions by creating familiar or contrasting settings, adding diversity and cultural richness, highlighting societal structures and power dynamics, and providing technological tools and challenges.
- Narrative contribution: The world elements contribute to the narrative by providing a realistic and relatable setting, adding tension and urgency to the situation, and creating a contrast between the familiar and the dangerous. The cultural and societal elements also add depth to the characters and their relationships.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by highlighting the tension between work and family life, the challenges of law enforcement, the danger of criminal activity, and the power dynamics in a crisis situation. The cultural and societal elements also add themes of diversity, cultural richness, and the importance of communication and understanding.
Voice Analysis | |
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Summary: | The writer's voice is characterized by sharp dialogue, tense interactions between characters, and a focus on character dynamics. The scenes are filled with subtle moments of tension and conflict. |
Voice Contribution | The writer's voice contributes to the script by creating a mood of suspense and intrigue, adding depth to the characters' interactions and motivations. |
Best Representation Scene | 39 - McClane Rescues Hostages as Explosion Rocks 39th Floor |
Best Scene Explanation | This scene is the best representation of the writer's voice because it showcases the writer's ability to blend tense and suspenseful dialogue, character dynamics, and action-packed sequences to create a gripping and emotionally engaging scene. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
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Predominance of tense and suspenseful scenes | The screenplay has a high number of scenes that are tense and suspenseful. This tone was present in 91% of the scenes, which may indicate a consistently thrilling or high-stakes atmosphere. |
Stable emotional impact and character changes | The emotional impact and character changes scores have a small range (6-9 and 6-7 respectively), suggesting consistent emotional engagement and character development throughout the screenplay. |
Dialogue and concept scores have room for improvement | The dialogue and concept scores have a wider range (7-9 and 7-8 respectively) compared to other elements. This indicates that there might be opportunities to enhance the dialogue and overall concept in some scenes. |
High stakes and conflict correlation | There is a noticeable correlation between scenes with high stakes and conflict. This suggests that high-stakes situations often drive the conflict in the story, which could be a deliberate or unintentional pattern. |
Move story forward and character changes correlation | Scenes that effectively move the story forward also tend to have significant character changes. This indicates that the author may be using character development as a key driver for plot progression. |
Lack of correlation between specific tones and scene grades | There is no consistent correlation between specific tones and scene grades, implying that the tone doesn't significantly impact the overall evaluation of scenes. |
Writer's Craft Overall Analysis
The screenplay showcases strong writing craft, with a focus on tense and suspenseful action sequences, well-developed characters, and engaging dialogue. The writer demonstrates a clear understanding of storytelling techniques and genre conventions, creating a compelling and immersive narrative.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Save the Cat! by Blake Snyder | This book provides valuable insights into crafting engaging characters, structuring scenes, and pacing the overall narrative, which can help the writer improve the screenplay's pacing and emotional depth. |
Exercise | Write a series of character monologues exploring each character's inner thoughts, fears, and motivations.Practice In SceneProv | This exercise can help the writer delve deeper into the characters' emotional lives, enhancing the overall emotional impact of the screenplay. |
Screenplay | Study screenplays of successful action-thriller films with strong character development, such as 'Mad Max: Fury Road' and 'The Dark Knight'. | Analyzing successful examples of action-thriller screenplays can provide valuable insights into crafting compelling characters, engaging action sequences, and effective pacing. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Lone Hero | John McClane is the only officer fighting against the terrorists inside the building, with the police force outside discussing their plans to deal with the hostage situation. | This trope is common in action movies where a single hero takes on a large group of villains. An example is Rambo in 'First Blood' (1982). |
The Mole | The terrorists have inside help, allowing them to call off the fire trucks and know about McClane's presence in the building. | The Mole trope is used when a character secretly works against the protagonists, often revealing crucial information to the antagonists. An example is Cypher in 'The Matrix' (1999). |
The Chosen One | John McClane is the only one who can save the hostages and stop the terrorists, as he is a street-smart patrol officer with experience and resourcefulness. | The Chosen One trope is used when a character is destined or chosen to save the day due to their unique skills or abilities. An example is Neo in 'The Matrix' (1999). |
The Damsel in Distress | Holly, John McClane's wife, is taken hostage by Hans and his group, forcing McClane to rescue her. | The Damsel in Distress trope is used when a female character is placed in a perilous situation and needs rescuing by the male protagonist. An example is Princess Leia in 'Star Wars' (1977). |
Countdown Clock | The terrorists have a deadline to access the vault, adding tension and urgency to McClane's mission. | The Countdown Clock trope is used to create a sense of urgency and tension, as the protagonist must complete their mission before time runs out. An example is the bomb in 'Speed' (1994). |
The Corrupt Authority | Deputy Chief Dwayne T. Robinson and Captain Carmine Lorenzo are more concerned about their plans than helping McClane and the hostages. | The Corrupt Authority trope is used when a character in a position of power abuses their authority or hinders the protagonist's progress. An example is Captain Louie Renko in 'Dirty Harry' (1971). |
The Unwitting Pawn | Ellis, one of Holly's coworkers, tries to negotiate with Hans and is killed, unknowingly furthering Hans' plan. | The Unwitting Pawn trope is used when a character is manipulated or used by the antagonist without realizing it. An example is Gail Peters in 'Die Hard 2' (1990). |
The Plucky Comic Relief | Sergeant Al Powell provides comic relief and support to McClane throughout the movie. | The Plucky Comic Relief trope is used to lighten the mood and provide levity in tense situations. An example is Tony Stark in the Marvel Cinematic Universe. |
The Trickster | McClane tricks Franco into thinking he has the detonators, but it's actually a handful of nothing. | The Trickster trope is used when a character uses wit and cunning to outsmart their opponents. An example is Loki in the Marvel Cinematic Universe. |
The Redemption Quest | Sergeant Al Powell, who accidentally shot a kid, finds redemption by helping McClane and the hostages. | The Redemption Quest trope is used when a character seeks to atone for their past mistakes or wrongdoings. An example is William Wallace in 'Braveheart' (1995). |
Memorable lines in the script:
Some Loglines to consider:
A New York cop visiting his estranged wife in Los Angeles becomes the only hope for a group of hostages when their Christmas party is taken over by terrorists. |
Trapped in a high-rise building, a lone cop must outwit a group of cunning thieves to save his wife and the other hostages. |
With nothing but his wits and a few bullets, a wisecracking detective takes on a group of ruthless terrorists in a desperate fight for survival. |
On Christmas Eve, a New York cop finds himself in the wrong place at the wrong time when he becomes the only thing standing between a group of hostages and a deadly band of thieves. |
A battle of wits and wills unfolds as a lone cop and a cunning criminal mastermind face off in a deadly game of cat and mouse. |
When a New York cop is unexpectedly caught up in a hostage situation at a Los Angeles high-rise, he must use his wits and skills to outwit the terrorists and save his estranged wife and the other hostages. |
A police officer on a personal visit to his estranged wife's office in Los Angeles finds himself trapped in a deadly game of cat and mouse with a group of sophisticated terrorists who have taken over the building. |
A resourceful New York cop becomes the unlikely hero when he is forced to take on a group of skilled international terrorists who have seized control of a Los Angeles office building and taken his wife hostage. |
In a race against time, a determined cop must stop a group of highly trained and dangerous criminals from carrying out their audacious heist, all while trying to reconnect with his estranged wife and save the other hostages. |
A lone cop's personal mission to reconcile with his wife turns into a life-or-death struggle when he becomes embroiled in a high-stakes hostage crisis orchestrated by a cunning and ruthless international terrorist. |
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Engine: Gemini
Recommend
Explanation: Die Hard is a highly engaging and well-crafted action thriller with a strong protagonist, memorable villains, and thrilling action sequences. While there is room for improvement in the development of some supporting characters, the overall screenplay is exceptional and has all the elements of a successful blockbuster.
Engine: Claude
Recommend
Explanation: Die Hard is a well-crafted and thrilling action-packed screenplay that delivers a compelling story with strong character development, effective use of suspense, and a climactic confrontation. The screenplay features a resourceful and determined protagonist, John McClane, who must navigate a hostile environment and confront a skilled and complex adversary, Hans Gruber. The script balances intense action sequences with emotional moments and character-driven storylines, creating a well-rounded and engaging narrative. Overall, Die Hard is a highly recommended screenplay that showcases the talent of its writers and the potential for a successful and engaging feature film.