Die Hard
Executive Summary
Poster
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: Die Hard is an action-packed thriller that follows the story of John McClane, a New York City police officer who is visiting his estranged wife in Los Angeles on Christmas Eve. When terrorists seize the Nakatomi Plaza, a high-rise building where his wife works, McClane must fight his way up the building to save her and the other hostages. Along the way, he must overcome his own personal demons and face the terrorists' cunning leader, Hans Gruber.
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:
- Die Hard 2: Die Harder
- Under Siege
- Speed
- The Raid: Redemption
- Cliffhanger
- Die Hard with a Vengeance
- Sudden Death
- Air Force One
- Crimson Tide
- The Rock
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
Pass/Consider/Recommend
Recommend
Explanation: Overall, 'Die Hard' presents a well-structured and engaging screenplay that effectively builds tension and suspense while developing complex characters and a compelling narrative. The screenplay excels in establishing the main conflict, introducing memorable characters, and incorporating thrilling action sequences. While there are areas where dialogue could be more natural and some scenes could benefit from a smoother flow, the screenplay's strengths in character development, pacing, and overall narrative strength make it a compelling and ultimately successful screenplay.
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.
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.
Analysis Criteria Percentiles
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)
Characters
John McClane:A New York City cop who becomes embroiled in a terrorist takeover of a Los Angeles skyscraper on Christmas Eve.
Hans Gruber:The leader of a European terrorist group who plans to steal millions in bearer bonds from the Nakatomi Corporation.
Holly Gennero McClane:John's estranged wife who is caught in the middle of the terrorist takeover at her office.
Sgt. Al Powell:A street-smart police officer who befriends John over the radio and helps him navigate the situation.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | 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 |
Scene 1 - An Uneasy Flight and Late Night Work
The usual moment just after landing when you let out that
sigh of relief that you've made it in one piece.
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 a voice next to him.
MAN'S VOICE
(o.s.)
J^W!fc'"S Don't fly much do you?
McClane looks over at a grinning middle-aged BUSINESSMAN
sitting next to him.
MCCLANE
No.
BUSINESSMAN
Want to know the secret of
surviving air travel?...Take off
your shoes and socks when you get
where you're going and walk
around ten minutes barefoot.
Better than a shower and a cup
of coffee...
MCCLANE
(warily)
Thanks... I'11 remember that.
The Businessman picks up on McClane's scepticism and takes
it as a challenge. His salesman's smile broadens.
BUSINESSMAN
You think I'm crazy don't you?
Trust me. I've been a salesman
for twenty years. I know what
I'm talking about.
(CONTINUED)
A98
CONTINUED: 3
/0s**..
The Businessman oozes confidence. McClane reaches up to help
a woman down with her bags and the butt of his Beretta
handgun suddenly becomes visible to the Businessman. The
man blanches at the sight and McClane notices the look.
He's seen it before.
MCCLANE
It's okay...I'm a cop.
We SEE this doesn't totally calm the Businessman. McClane
holds his look and produces a gold NYPD Detective's shield.
MCCLANE
(firm and
definite)
Trust me. I've been doing it
for thirteen years.
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...1
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)
Do you ever look at the calendar,
Harry? Christmas Eve...Santa*s
arriving...Family...Those things
ring a bell?
She turns into:
A98
3
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.
HOLLY
(to her secretary)
Go on out, Ginny, they're opening
the champagne.
GINNY
(grateful to be
released)
Thanks Ms. Gennaro.
Ginny passes Ellis in the doorway as Holly punches a number
on the phone.
I ELLIS
' (not giving up)
How about tomorrow night?
HOLLY
(dryly)
Worse.
Just then the party on Holly's phone picks up and WE:
INTERCUT:
Ratings
Scene 2 - Preparing for John's Arrival: Warm Conversations and Limo Rides
where a four-year-old girl, LUCY MCCLANE, answers the phone
with a sense of importance.
LUCY
Hello, this is Lucy McClane.
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.
LUCY
/fH^s
Mommy! When are you coming home?!
(CONTINUED)
A98
4
CONTINUED: 6
J^*>*
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?
(enjoys her
daughter's giggle
over the line)
May I speak with Paulina, please?
Lucy hands the phone to a young Salvadorian woman, PAULINA,
the housekeeper.
PAULINA
Hello, Ms. Holly. You coming
home soon?
HOLLY
Hopefully.
(beat)
Mr. McClane didn't call, did he?
PAULINA
No ma'am.
Holly hides a trace of disappointment.
HOLLY
Maybe that means he got a flight.
Why don't you make up the bed in
the spare room, just in case.
PAULINA
(smiling)
Yes ma'am, I already did.
Holly's smile comes through again.
INT. LAX - EVENING 7
McClan^-r^earing TBTs-sWool topcoat and carrying a huge
FAg^chwartz stuffep. animal and his hangup bag, comes down
ramp with the Businessman from the
BUSINESSMAN
Remember...bare feet, ten minutes.
Merry Christmas.
(CONTINUED)
A98
CONTINUED: 7
MCCLANE
Yeah...Merry Christmas...
The Businessman moves down the ramp and is lovingly greeted
by his family. 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, WILLIAM, in an ill-fitting chaufeur's uniform. As he
waits he beats «out a rhythm on a card with J. McCLANE printed
on it. McClane pauses in front of him.
MCCLANE
I'm John McClane.
WILLIAM
William, Sir...I'm your limo
driver. Nice bag.
He turns and starts walking.
MCCLANE
Don't you take this?
WILLIAM
(stops)
Do I?
MCCLANE
Hell, I don't know. I've never
been picked up by a limo before.
William takes McClane's bag.
WILLIAM
Hey, that's good...'cause I've
never driven one before.
CUT TO:
INT. LIMOUSINE - DUSK 8
McClane and William both sit in the front seat as the black
limo turns off the Santa Monica Freeway and heads north
toward Century City. The huge toy animal sits in the backseat.
McClane hears a rustling at his feet and looks down
to see a bunch of fast food wrappers. Picks one up — it
says Taco Bell — and looks at William who grins sheepishly.
WILLIAM
What can I say, man? I didn't
<T expect you to sit up front.
(CONTINUED)
A98
6
8 CONTINUED: 8
f* WILLIAM (Cont.)
(popping in a
cassette)
Mind if I play some tunes?
A hard RAP SONG blasts from the speakers.
MCCLANE
How 'bout some Christmas music?
WILLIAM
That is Christmas music.
McClane gives up and grins, tosses the wrapper back on the
floor and looks out the window.
9 HIS P.O.V. 9
Convertibles with Christmas trees in their backseats,
Time/Temperature signs which read: 69°, and palm trees
trimmed in Christmas lights — it is clear that Christmas
L.A. style is a foreign commodity he could live happily
without.
WILLIAM
f* (to the animal
• in the back)
You know, you're stocked backed
there. We got CD, CB, TV, phone,
full bar. I even know a couple
of Teddy Bears...
(to McClane)
...Or is he married?
MCCLANE
Married.
WILLIAM
She live out here?
MCCLANE
As of six months ago.
WILLIAM
And you live in New York?
MCCLANE
You're nosey, you know that,
William?
f^ WILLIAM
Hey, I'm sorry. I got to quit
doing that, you know.
(CONTINUED)
A98
7
3 CONTINUED: 9
MCCLANE
That's okay.
WILLIAM
So, you divorced or what?
McClane gives up.
MCCLANE
She had a good job, it turned
into a great career.
WILLIAM
But meant her moving here.
MCCLANE
You're fast.
I
/ WILLIAM
So, why didn't you come?
MCCLANE
'Cause I'm a New York cop not an
IBM salesman. I don't just get up
and move.
WILLIAM
(to the point)
And you didn't think she'd make
it here?
McClane grins, he likes William even if he is direct.
MCCLANE
You're fast, William.
Ratings
Scene 3 - Tense Greetings and Christmas Cheer: McClane Arrives at Nakatomi while Powell Handles Police Station Crisis
A miniature Christmas tree with blinking lights sits on a
desk of SERGEANT AL POWELL, thirties, a man who's had enough
experience to know how bad it can be out there. He speaks
in low tones to the telephone.
POWELL
(defensively)
Yeah, yeah, honey, don't go
crazy —
(listening, then)
— I know you're pregnant. I know
you get cravings. I didn't say I
wouldn't buy *em, I just said I wish
you'd buy *em in big boxes...
(CONTINUED)
A98
8
10 CONTINUED: ' 10
Suddenly Powell's miniature tree is knocked on its side and a
handgun goes spinning across the desk into his lap. He looks
up to see two cops trying to subdue a struggling suspect in
front of his desk. COP #1 looks up at Powell and grins.
COP #1
Don't worry, Al, it ain't loaded.
POWELL
(to phone)
I got to go.
Powell hangs up and puts the heavy firearm on the desk as the
two cops shove the suspect into a chair in front of him.
COP #2 stares at the suspect and points at Powell.
I COP #2
Sergeant Powell's a very deadly
man with a handgun, so don't try
anything or he might kill you...
by accident.
The two cops laugh. Powell ignores them, and expertly rolls
in a sheet of paper into his main weapon — the typewriter.
POWELL
(to suspect)
Full name, last name first...
11 -INT. LIMO - NIGHT 11
McClane and William pull up in front of the Nakatomi building,
a forty story, ultra-modern highrise in Century City.
WILLIAM
You here to patch things up?
MCCLANE
I'm here to try. Thanks for the
ride, William.
He gets out and William sits a moment in the car alone before
getting out to help him with the bags.
12 EXT. NAKATOMI BUILDING - NIGHT 12
William climbs out of the limo and stops by the trunk.
WILLIAM
What happens if you don't get back
with your wife? Where*re you going
to stay?
(CONTINUED)
A98
12 CONTINUED: _ 12
MCCLANE
I'll find someplace.
He looks up at the highrise lit by huge spotlights, then
back at William who's made no attempt to open the trunk.
WILLIAM
Look, I'm going to pull into the
parking garage and wait. You score
with your wife give me a call on
the car phone and I'11 leave your
bags inside at the desk. You strike
out...I'11 get you to a hotel.
He hands McClane a slip with the number on it.
MCCLANE
(taking the number)
Thanks. What're you going to do?
WILLIAM
Don't worry about William...
(points to the
stuffed animal)
...He's going to hang out with his
friend here till you call.
13 INT. NAKATOMI LOBBY - NIGHT 13
Beautiful and deserted. A large Christmas tree stands next
to the security table where the GUARD sits. McClane goes to
the desk and signs in.
MCCLANE
Holly Gennaro. International Sales.
GUARD
Thirty-second floor...You can't miss
'em, they're the only ones left in
the place.
14 INT. ELEVATOR - NIGHT 14
McClane riding the elevator. He rotates his head. Getting
the cricks out. As he approaches the 32nd 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 32ND FLOOR - SAME 15
McClane moves around the edge of the party and stops a
dancing woman who points to Holly's "office.
A98
10
16 HOLLY'S OFFICE - SAME 16
McClane pauses at the door and notes the name, then knocks.
It is opened by Takagi. Ellis sits behind Holly's secretary's
desk and nervously taps a tightly-rolled dollar bill.
MCCLANE
Sorry, I was looking for —
TAKAGI
Holly Gennaro?
MCCLANE
Yeah...
TAKAGI
Then you must be John McClane.
(introducing
himself)
Joe Takagi, John. How was your
ride in?
Ellis subtly runs a checking finger under his nose then stands
to shake hands with McClane. McClane takes it all in.
MCCLANE
Nice. Do I have you to thank for
that?
TAKAGI
Or blame for it. She was going to
meet you herself, but I threw some
things at her at the last minutes.
(motions to Ellis)
John, this is Harry Ellis one of our
shining stars in international sales.
(to Ellis)
John is a New York policeman.
ELLIS
(shaking hands)
Pleasure to meet you. I've heard
a lot about you from your ex-...
(correcting
himself)
...your wife.
We can tell by McClane's look that he doesn't think much of
Ellis. McClane holds Ellis' look and runs his finger subtly
under his nose.
MCCLANE
(low, to Elli.s)
You missed some.
(CONTINUED)
A98
11
16 CONTINUED: 16
yflE^X
MCCLANE (Cont.)
(to Takagi)
Well, you fellas throw quite a
Christmas party.
Ellis automatically puts his hand to his face before
realizing his face is clean.
TAKAGI
Well, actually it's also a little
celebration for a deal we closed
this afternoon. A $150,000,000
deal. A deal we have Holly to
thank a lot for —
Holly enters. Seeing McClane momentarily stops her.
J
/
HOLLY
(surprised)
John...Oh...Did you meet everyone? —
TAKAGI
No, we've been sticking spears in
^S*!S\ him...of course he has.
McClane and Holly look at each other for a moment awkwardly
then she kisses him on the cheek. The awkwardness pleases
Ellis.
TAKAGI
(to McClane)
She's made for this business.
Tough as nails.
ELLIS
Show him the watch.
He points to a new gold Rolex on Holly's wrist.
HOLLY
(giving him
a look)
I will later.
ELLIS
Ahh...Show him. Don't be
embarrassed.
(to McClane)
A little something to show how much
we appreciate her good work.
(CONTINUED)
A98
12
16 CONTINUED: (2) 16
Holly fixes Ellis with a lethal look.
MCCLANE
I'm sure I'll see it later. Right
now I could use a place to wash up.
Ratings
Scene 4 - Arrival at Nakatomi Plaza and Reunion of Holly and McClane
A UPS truck turns off Olympic into the underground parking
garage of Nakatomi.
18 INT. PARKING GARAGE 18
It goes down the ramp and passes William's black limo. William
I is not visible in the front. The back windows are tinted.
19 INT. LIMO - SAME 19
William sits in the backseat. 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 UPS 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- WASHROOM - NIGHT 21
Holly sits in Ellis' office — a Sharper Image kind of place.
Through a door to the private washroom, she watches McClane
in his T-shirt finish washing his face.
HOLLY
Sorry about Ellis. He has a
hard time this time of year...
MCCLANE
Hey, I know the type. He thought
he was God's greatest gift.
They both smile, a reminder of something past.
HOLLY
So, where are you staying? This
all happened so fast I didn't
even ask you on the phone.
(CONTINUED)
A98
13
21 . CONTINUED: 21
J^tn\
McClane finishes drying his face and steps to the 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
Pomona.
HOLLY
PomonaI 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
How about you?
HOLLY
(beat, honest)
I would too.
MCCLANE
I feel kinda stupid asking how
things are going, that seems
pretty obvious.
He nods at her new watch. She rubs her watchband
self-consciously and when she looks up McClane is staring
at her.
MCCLANE
God, you look good.
HOLLY
(pleased, smiles)
You don't look half-bad yourself.
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 its occupied and beat a hasty
/Si^V retreat. The interruption temporarily dents the mood.
Holly tries to smile.
(CONTINUED)
A98
14
21 ' CONTINUED: (2) 21
HOLLY
Welcome to L.A...I've missed you.
She leaves and McClane smiles to himself — it's a start. He
looks at all the lavishness around him and picks up a phone
on the wall by the toilet. He opens his wallet and takes out
the phone number William gave him. A photo of his children
stops him.
22 INSERT - THE PHOTO 22
Holly and the two children we saw at Holly's house. He flips
it over. On the back in crude but painstaking hand of a
five-year-old it says: WE MISS YOU, DADDY. LOVE JOHN (and
in more primative letters) LUCY.
23 MCCLANE 23
returns the photo to his wallet, dials the number and begins
to unlace his shoes.
Ratings
Scene 5 - Takeover of the Building and Murder of the Guard
The Guard at the front desk notices the UPS truck on his
monitor. The Guard continues to watch the UPS truck and
only half notices as a BMW pulls up in front of the building
and two extremely well-dressed, BUSINESSMEN (late twenties)
climb out and start up the stairs for the door. As they
cross the lobby to the Guard's table to sign-in, we hear
•their conversation.
MAN #1 (THEO)
(animatedly)
...So, Kareem rebounds — listen,
this is a great play — feeds Worthy
on the break, over to A.C., to Magic,
back to Worthy in the lane and —
Suddenly the other man pulls out a Walther pistol with a
silencer and aims it at the Guard's forehead. Before the
Guard can react he pulls the trigger.
MAN #1 (THEO)
(dryly)
Boom...two points.
(The speed with which the murder takes place sets the tone
for the rest of the action.) The killer moves behind the
desk, stepping over a small pool of blood from the Guard.
His name is KARL, big, with long blond hair like a rock
drummer. Karl takes off the silencer and looks at the
(CONTINUED)
A98
15
24 CONTINUED: 24
J0£\
video monitor of the UPS truck. The first man, THEO, opens
his briefcase and takes out a portable CB radio.
THEO
(on CB)
We're in.
25 ON THE SCREEN 25
the driver nods at the security camera as several men climb
out the rear of the van and begin unloading wooden crates•by
the service elevator.
26 INT. BUILDING OPERATIONS CONTROL ROOM 26
Theo enters the small control room and comfortably sits
behind a maintenance keyboard. With a few typed-in commands
}
he locks down the passenger elevators up to the 32nd floor.
i Then with several more computer commands, .systematically
causes:
27 THE HEAVY STEEL GATES TO THE PARKING GARAGE CLOSE 27
28 THE ESCALATORS TO THE GARAGE COME TO A STOP 28
29 THE POWERFUL BLOWERS IN THE AIR CONDITIONING TOWER 29
ON THE ROOF SUDDENLY STOP AND WE HEAR JUST THE
TRICKLE OF WATER IN THE COOLING TOWER
30 CONTROL ROOM - SAME 30
Theo finishes typing and disconnects the keyboard and pulls
out the wires from beneath the panel.
31 INT. LOBBY - SAME 31
The doors to a service elevator open TO REVEAL HANS GRUBER,
impeccably dressed, lean and handsome, he steps out into the
lobby like he owns the building — and in a way he does.
Theo steps to the door of the control room and tosses Hans
the Guard's master keys. Hans goes to the front door and
locks it. He looks out at the street — not a creature is
stirring — Century City is quiet.
32 KARL 32
waits beside an elevator which opens REVEALING NINE MEN
dressed in fatigues, all armed with Kalashnikov machine guns
and carrying canvas kit bags. One of them, HEINZ, in his
twenties, goes to the dead guard and immediately begins
\ changing into the dead man's clothes.
A98
16
33 KARL 33
takes a tool case from the elevator and heads silently for
the basement stairwell.
34 THEO 34
leaves the control room and nods to Hans.
35 HEINZ 35
•
half-dressed in his uniform, takes his position behind the
front desk.
36 HANS 36
looks at his watch and seems pleased. He steps into the
service elevator with the others and presses the button for
1 the 32nd floor. The entire sequence has taken maybe sixty
( seconds.
Ratings
Scene 6 - McClane's Failed Attempts to Call for Help and Hans' Approach on the 32nd Floor
McClane, barefoot, his pant legs rolled up above his ankles.
He finishes dialing and waits for the party to answer.
/Jl//lfl"\ 38 INT. BUILDING BASEMENT - PHONE ROOM 38
A large sign says: PACIFIC BELL EMPLOYEES ONLY. Inside
Karl stands in front of an intimidating matrix of phone lines
— but what he has in mind won't require a doctorate in
Electrical Engineering. He focuses on four CPV plastic
conduits which run out of the main panel over his head and
opens his case REVEALING a compact electric chain saw.
39 INT. ELLIS' BATHROOM - SAME 39
McClane on the phone.
MCCLANE
(on phone)
William?...
40 INT. LIMO 40
William is reclining on the seat. The music is on so loud
that it is nearly impossible to hear.
WILLIAM
So, man, what's the story?
/liBBNy 41 INT. PHONE ROOM - SAME 41
Karl cuts through the four tubes one at a time.
A98
17
42 INT. ELLIS' BATHROOM - SAME 42
ytf&*^S McClane on the phone.
MCCLANE
I'm just calling to —
He stops and gently taps the phone cradle. No dial tone.
43 INT. LIMO 43
William looks at the phone.
WILLIAM
W h a t ? — M r . Mac, you there?
He turns down the music but there is no one on the line.
WILLIAM
(to himself)
Well, call me back, John. You got
the number.
He hangs up and turns the volume back up.
44 ELLIS' OFFICE 44
He hangs up the phone and goes into Ellis' office and picks
up the phone on the desk. It too is dead.
\ 45 INT. SERVICE ELEVATOR 45
Hans and the others approaching the 32nd floor. As they grow
closer we hear the noise of the speakers growing louder and
louder. The men cock their weapons and brace themselves as
the car stops and the elevator doors open. ON THE SOUND OF
GUNSHOTS AND SCREAMS WE:
CUT TO:
46 INT. ELLIS' OFFICE 46
McClane grabs his shoulder harness off the back of the chair
and moves quickly to the doorway. He looks down the hall.
47 HIS P.O.V. 47
Two terrorists, FRANCO and TONY, armed with M-5 machine guns
searching the offices on the hall one by one. They open a
door, look in from the hallway, and move on quickly to the
next. They are four offices away and moving fast.
McClane looks across the corridor and sees the stairwell door
— too far to reach without being seen.
(*** 48 MCCLANE , . 48
steps back, throws off the safety on his Beretta and braces
himself.
A98
18
49 HALLWAY - FRANCO AND TONY 49
^0™^
reach the office just before Ellis' and throw open the door
REVEALING the man and woman who interrupted Holly and
McClane a few minutes before, now in the throes of passionate
lovemaking on the desk. The two terrorists smile at each
other then enter the office.
A moment later the man, trying desperately to pull up his
pants and woman buttoning her blouse, are pushed out into
the hall and toward the party, by Tony. The other
terrorist. Franco, goes to Ellis' office and opens the door.
It is empty. Only McClane's shoes and coat remain.
50 INT. STAIRWELL - SAME 50
CLOSE ON McClane's bare feet padding quickly up the concrete
stairs, two at a time. We FOLLOW him up two flights, then
| out onto the:
51 34TH FLOOR 51
i
| Unlike the 32nd it has no surrounding offices, just one
| large secretarial pool with hundreds of desks, hundreds of
phones, dark and deserted. McClane moves quickly to a desk
and picks up a phone. It's out.
P MCCLANE
1
Shit...
Out the windows a high-rise apartment building a half-block
away sparkles with lights. McClane stares at a woman in her
kitchen. We SEE her wipe her hands on an apron and turn to
answer a telephone. It seems so easy.
McCLANE
Think...
52 INT. 32ND FLOOR (HOSTAGE FLOOR) - SAME 52
The employees have been herded to the center of the room
where the desks have been pulled back. Many people are
whimpering. Holly looks around the room for McClane; she
sees Ellis. Takagi, stubbornly refusing to cooperate is
pushed toward the group. Hans steps up on top of a desk
and looks over the group.
HANS
(soothing, in control)
Ladies and gentlemen, due to Nakatomi's
legacy of greed in Third World countries,
it is about to be made an example. You,
{ unfortunately, are part of the recompense.
(CONTINUED)
A98
19
52 CONTINUED: 52
HANS (Cont.)
We are going to collect identification.
This is not a pillage — we do not want
your wallets or money. A driver's
license or ID with a photo will do nicely.
Several of the terrorists begin collecting IDs as people hunt
for ID.
HANS
At present we have no intentions of
hurting anyone. If our demands are
not met, however — expect that to
change.
(beat, smiles)
Your cooperation is appreciated.
f He steps down from the desk and goes into:
/
53 HOLLY'S OFFICE 53
where a terrorist with glasses, FRITZ, has begun to set up
operations. A large CB unit is placed on her desk and a TV
monitor is put on the credenza. While he works, Hans picks
up an 8x10 photo on the credenza.
y 54 CLOSE - THE PHOTO 54
The same one that we saw in McClane's wallet of Holly and
the children.
55 HANS 55
He puts the photo back. Franco (who checked Ellis' office)
brings McClane*s coat, socks and shoes. Hans examines the
clothes and looks at the man who brought them.
HANS
Is this all?
FRANCO
(nods)
Do you want us to search for him?
HANS
No. He can't signal for help and
he cannot get out.
Hans feels the fabric of McClane's topcoat as Franco leaves
and Takagi is brought to the office. Hans smiles.
jt0>&\
(CONTINUED)
A98
20
55 CONTINUED: 55
f*y HANS
(pleasantly)
Mr, Takagi, my name is Hans Gruber.
Would you come with me, please?