Die Hard
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Promo

USP: **Unique Selling Proposition:** This action-packed thriller delivers a heart-racing hostage crisis narrative with a unique blend of humor, suspense, and character-driven dynamics. Featuring a witty protagonist, a charismatic antagonist, and a gripping cat-and-mouse game within the claustrophobic confines of a skyscraper, this screenplay offers a refreshing take on the genre. Innovative storytelling techniques, including tense confrontations, strategic planning, and daring escapes, will keep audiences on the edge of their seats. The script's authenticity, originality, and distinctive voice create a compelling and unforgettable cinematic experience.
Overview
Genres: Action, Thriller, Drama, Crime, Comedy
Setting: Christmas Eve, Nakatomi Plaza building in Los Angeles
Overview: The screenplay for "Die Hard" exhibits strong potential with its compelling premise, well-developed protagonist, and engaging action sequences. The dialogue is sharp and effectively builds tension, while the theme of heroism resonates throughout. However, there are opportunities to enhance the depth of supporting characters, explore the emotional complexity of the narrative, and further refine the pacing and action sequences.
Themes: Violence and Action, Terrorism and Hostage Situations, Christmas, Family
Conflict and Stakes: McClane's battle against the terrorists to save the hostages and his wife, as well as his personal struggle to clear his name from a murder charge.
Overall Mood: Tense, suspenseful, and thrilling, with moments of humor and camaraderie.
Mood/Tone at Key Scenes:
- Scene 22: The scene where McClane crawls through the air duct to escape the terrorists creates a sense of claustrophobia and suspense.
Standout Features:
- Unique Hook: Die Hard's premise of a lone warrior fighting against a group of terrorists in an enclosed space was a refreshing concept for an action movie.
- Plot Twist : The true identity of Karl, the terrorist who impersonates McClane, creates a shocking reveal during the film's climax.
- Iconic Character : John McClane is a beloved and iconic action hero who embodies the everyman with his relatable personality and unwavering determination.
- Action Sequences : Die Hard features many thrilling and well- choreographed action sequences, including the famous elevator shootout and the showdown on the roof.
Comparable Scripts:
Market Analysis
Budget Estimate:$30-50 million
Target Audience Demographics: Adults aged 25-54, fans of action, Die Hard movies, and thrillers.
Marketability: The screenplay has strong marketability due to its proven track record, having spawned multiple successful sequels, and its appeal to a wide audience. The film's blend of action, suspense, and humor has made it a popular choice for audiences worldwide.
The screenplay has unique blend of genres and explores compelling themes with a diverse cast.
Has compelling characters and a gripping storyline, relevant social themes, name recognition, and cross-platform appeal.
Profit Potential: High, due to strong appeal to a wide adult audience with a potential for merchandising and sequels.
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
- Plotrating: 91.59%, indicating a compelling and well-structured plot.
- Conflict_level: 89.07%, demonstrating a strong and engaging conflict that drives the story.
- Emotional_impact: 73.52%, suggesting the story effectively evokes emotions and resonates with the audience.
- Engagement_score: 93.28%, indicating the screenplay effectively captivates and holds the audience's attention.
- Pacing_score: 98.50%, demonstrating a well-paced story that maintains momentum and prevents lulls.
- Charactersrating: 36.55%, suggesting the characters may need further development and depth to become more relatable and compelling.
- Dialoguerating: 36.13%, indicating the dialogue could benefit from refinement to enhance its natural flow and impact.
- Structure_score: 47.01%, suggesting the screenplay's structure may require revision to improve its overall coherence and clarity.
- Internal_goal_score: 64.92%, indicating the protagonist's internal motivations could be strengthened to provide a more compelling emotional core.
The writer may have a more conceptual writing style, as evidenced by the high percentile scores in conceptrating and plotrating, while character and dialogue scores are relatively lower. This suggests a focus on creating strong plot-driven stories with well-developed concepts.
Balancing Elements- Consider balancing the emphasis on plot and concept with stronger character development and dialogue to create a more well-rounded and emotionally engaging story.
- Explore ways to enhance the internal motivations of the characters to provide a deeper emotional connection for the audience.
Conceptual
Overall AssessmentThe screenplay shows promise with strong plot, conflict, and emotional impact. However, it would benefit from further development in characterization, dialogue, and structural clarity to maximize its potential.
How scenes compare to the Scripts in our Library
|
|
Percentile | Before | After |
---|---|---|---|---|
Scene Pacing | 8.90 | 99 | Squid Game: 8.86 | Die Hard: 8.90 |
Scene High Stakes | 9.1 | 98 | Battlefield Earth: 9.0 | Rambo: 9.1 |
Scene Plot | 8.6 | 96 | V for Vendetta: 8.5 | John wick: 8.6 |
Scene Story Forward | 8.8 | 96 | V for Vendetta: 8.7 | the dark knight rises: 8.8 |
Scene Engagement | 9.02 | 95 | V for Vendetta: 9.00 | the dark knight rises: 9.02 |
Scene Conflict Level | 8.7 | 94 | Blackkklansman: 8.6 | the dark knight rises: 8.7 |
Script Visual Impact | 8.75 | 91 | Jojo rabbit: 8.50 | Mr. Smith goes to Washington: 8.75 |
Scene Overall | 8.7 | 90 | Pirates of the Caribbean: 8.6 | the black list (TV): 8.7 |
Script Conflict | 8.25 | 79 | KILLING ZOE: 8.00 | the dark knight rises: 8.25 |
Overall Script | 8.30 | 76 | Labyrinth : 8.29 | the black list (TV): 8.30 |
Script Originality | 8.75 | 74 | Inside Out: 8.50 | Casablanca: 8.75 |
Scene External Goal | 7.45 | 71 | Blade Runner: 7.44 | Labyrinth : 7.45 |
Script Emotional Impact | 8.25 | 70 | Battlefield Earth: 8.00 | the dark knight rises: 8.25 |
Script Premise | 8.50 | 69 | Women talking: 8.25 | Mr. Smith goes to Washington: 8.50 |
Script Structure | 8.25 | 64 | Gladiator: 8.00 | Titanic: 8.25 |
Scene Unpredictability | 7.57 | 60 | The big short: 7.56 | American Hustle: 7.57 |
Script Structure | 8.14 | 55 | Belfast : 8.13 | the pursuit of happyness: 8.14 |
Scene Emotional Impact | 7.9 | 54 | Triangle of sadness: 7.8 | fight Club: 7.9 |
Script Characters | 8.25 | 47 | The Hudsucker Proxy: 8.00 | Erin Brokovich: 8.25 |
Script Theme | 8.25 | 46 | Stranger Things: 8.00 | the dark knight rises: 8.25 |
Scene Concept | 8.1 | 45 | Manchester by the sea: 8.0 | Casablanca: 8.1 |
Scene Character Changes | 6.9 | 42 | 500 days of summer: 6.8 | severance (TV): 6.9 |
Scene Internal Goal | 8.02 | 35 | Anora: 8.00 | the pursuit of happyness: 8.02 |
Scene Originality | 8.55 | 32 | the pursuit of happyness: 8.52 | Die Hard: 8.55 |
Scene Dialogue | 7.5 | 28 | The Umbrella Academy: 7.4 | Titanic: 7.5 |
Scene Characters | 8.1 | 27 | Memento: 8.0 | the pursuit of happyness: 8.1 |
Scene Formatting | 7.83 | 2 | The shining: 7.76 | Die Hard: 7.83 |
Writer's Voice
Summary:The writer's voice is characterized by sharp dialogue, detailed descriptions, and a focus on character dynamics. The writer effectively uses these elements to create a sense of tension and suspense throughout the screenplay.
Best representation: Scene 3 - Reunion in the Dark. Scene 3 is the best representation of the writer's voice because it effectively combines sharp dialogue, realistic character interactions, and a focus on tension and suspense. The scene is also a turning point in the story, as it sets up the conflict between John McClane and Hans Gruber.
Memorable Lines:
- John McClane: Yippee-ki-yay, motherfucker. (Scene 37)
- John McClane: Now I have a machine gun. Ho ho ho. (Scene 18)
- Holly: Come out to the coast, we'll get together, have a few laughs (Scene 38)
- Holly: That was a bullseye. Could you believe it? (Scene 39)
- MCCLANE: I'm gonna need a bigger boat. (Scene 1)
Writing Style:
The overall writing style of the screenplay is characterized by a blend of action, humor, and complex character dynamics. The dialogue is sharp and witty, and the pacing is fast-paced and engaging.
Style Similarities:
- Shane Black
- Tony Gilroy
- John McTiernan
- Christopher Nolan
- Quentin Tarantino
Story Shape
Emotions Elicited
Engine: Claude
Recommend
Executive Summary
Die Hard is a gripping, character-driven action thriller with a strong narrative drive and well-crafted set pieces. The screenplay features a compelling protagonist in John McClane, who undergoes a meaningful transformation as he fights to save his wife and stop a group of ruthless terrorists. The dialogue is sharp and realistic, and the action sequences are visually compelling and integral to the storytelling. While there are some opportunities to further develop the supporting characters and explore thematic depth, the screenplay is a strong, well-executed example of the action genre that would likely appeal to a wide audience.
- The screenplay has a strong sense of character and narrative drive, propelling the story forward with clear stakes and conflict. high
- The dialogue is sharp, realistic, and serves to develop the characters and advance the plot effectively. high
- The action sequences are well-crafted, visually compelling, and integral to the storytelling. high
- The screenplay maintains a strong sense of pacing, balancing moments of tension and release to keep the audience engaged. high
- The protagonist, John McClane, is a well-defined, multi-dimensional character who undergoes a meaningful transformation over the course of the story. high
- While the character arcs are generally strong, there may be opportunities to further develop the supporting characters and their relationships to the protagonist. medium
- The screenplay could benefit from additional thematic exploration, providing more depth and resonance to the central conflict. medium
- The screenplay could potentially benefit from the inclusion of additional subplots or character backstories to further enrich the world and provide more emotional complexity. low
- The screenplay's use of setting and environment, particularly the high-rise building, as an additional character and source of conflict is highly effective. high
- The screenplay successfully blends various genres, including action, thriller, and even subtle moments of humor, creating a well-rounded and engaging cinematic experience. high
Engine: Gemini
Highly Recommend
Executive Summary
Die Hard is an exceptional action screenplay with a strong protagonist, well-paced action sequences, and a good balance of humor and character development. While some supporting characters could be further fleshed out and the ending could provide more closure, the overall narrative is compelling and engaging. The screenplay effectively uses media and technology to escalate the tension and stakes, making it a standout in its genre.
- John McClane's character is established effectively, showcasing his vulnerability and humanity through interactions with the businessman and his phone call with his daughter. high ( Scene 1 (3) Scene 2 (6) )
- The action sequences are well-paced and suspenseful, keeping the audience engaged and on the edge of their seats, particularly during McClane's encounters with the terrorists and his escape through the air ducts. high ( Scene 10 (103) Scene 11 (129) )
- The screenplay effectively balances action with moments of character development and humor, particularly in the interactions between McClane and Powell, which add depth and levity to the story. high ( Scene 17 (188) Scene 21 (215) Scene 22 (219) )
- Hans Gruber is a memorable and well-developed antagonist, whose intelligence and ruthlessness make him a formidable opponent for McClane. high ( Scene 31 (303) )
- The screenplay effectively uses media and technology to escalate the tension and stakes of the story, particularly with the introduction of Thornburg and the live television broadcasts. medium ( Scene 37 (406) Scene 38 (428) )
- Some of the supporting characters, such as the terrorists, could be further developed to provide more depth and motivation beyond their role as antagonists. medium
- The ending could be slightly more impactful and provide a stronger sense of closure for McClane and Holly's relationship. low
- The character of Al Powell serves as an effective counterpoint to McClane, highlighting the challenges and emotional toll of police work. medium ( Scene 3 (10) Scene 21 (216) )
- The screenplay explores themes of family, redemption, and the struggle against overwhelming odds. high ( Scene 19 (201) )
Screenplay Insights:
Premise: 8.5, The screenplay presents a clear and engaging premise that effectively captures the attention of the reader. It introduces interesting characters, sets up an intriguing conflict, and establishes a unique setting. The premise has the potential to lead to a compelling narrative, but there are a few areas that could be enhanced to further refine and strengthen its foundational appeal. See More
Structure: 8.25, The screenplay exhibits a well-structured and engaging plot that effectively builds tension and maintains audience interest. However, there are opportunities to refine certain aspects to enhance the narrative's clarity, emotional impact, and overall coherence. See More
Theme: 8.25, The screenplay effectively explores themes of survival, heroism, and resilience in the face of adversity. John McClane's journey from a cynical cop to a reluctant hero is well-developed, showcasing his resourcefulness, determination, and moral compass. The film's message about the importance of teamwork and standing up for what is right is clear and impactful. However, the script could benefit from further refinement of its exploration of the theme of terrorism and its motivations. See More
Visual Impact: 8.75, The screenplay offers a gritty and compelling visual experience, leveraging vivid imagery, innovative perspectives, and dynamic action sequences. The fusion of realism and creativity sets the stage for an immersive and emotionally resonant narrative. See More
Emotional Impact: 8.25, The screenplay effectively engages the audience emotionally through its compelling character dynamics and action-packed sequences. However, it has the potential to delve deeper into the emotional complexities of its characters and explore their motivations more thoroughly to create a more resonant emotional experience. See More
Conflict: 8.25, Overall, the screenplay for Die Hard effectively establishes a compelling conflict and high stakes, driving the narrative tension and audience engagement. The well-defined conflict between John McClane and Hans Gruber, along with the personal stakes for McClane's family, create a strong foundation for the story. However, there are opportunities to enhance the conflict and stakes further, deepening the emotional impact and immersing the audience more fully. See More
Originality: 8.75, "Die Hard" showcases originality in its compelling and action-packed narrative, offering a thrilling blend of suspense, humor, and character-driven storytelling. The screenplay effectively subverts expectations, employing innovative storytelling techniques and well-developed characters to deliver a fresh take on the action genre. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- On Christmas Eve, John McClane, a weary police detective, meets a Businessman on a flight who offers him tips for surviving air travel. The Businessman reacts nervously to McClane's gun, but McClane shows his badge to ease his concerns. In Los Angeles, Holly McClane, John's wife, works late at the Nakatomi Building, where Joseph Takagi celebrates a successful day with his employees, while Harry Ellis unsuccessfully attempts to get Holly to dinner. Despite a brief moment of tension, the scene ends on a light note as preparations for Christmas Eve continue.
- Lucy chats with her mother Holly on the phone, while John arrives in Los Angeles and meets his eccentric limo driver, William. As they drive through the festive city, William probes John about his family and career, adding a touch of humor to the scene.
- A suspect is subdued and brought before a police officer, Powell. Meanwhile, McClane arrives at the Nakatomi Building to reconcile with his wife, Holly. Upon entering the building, he encounters Takagi and Ellis, Holly's colleagues. Ellis, who is arrogant and condescending, attempts to belittle McClane, but McClane subtly mocks him.
- In the dimly lit Nakatomi Plaza parking garage, a UPS truck pulls up, unnoticed by William in his limo. Meanwhile, McClane and Holly share a nostalgic moment in Ellis' office washroom. McClane attempts to call William, but is sidetracked by a photo of his children. Undeterred, he redials William's number, unaware of his impending clash with the terrorists lurking within the building.
- Two well-dressed businessmen, Theo, and Karl, enter a building lobby and kill the guard. They then proceed to disable the building's security systems before being joined by Hans Gruber who brings in a team of armed men dressed in fatigues. The group then enters a service elevator and presses the button for the 32nd floor.
- McClane realizes the phone lines have been cut and prepares to confront the terrorists, who are searching the halls. Meanwhile, Hans informs the hostages of their demands. McClane runs up the stairwell and reaches the 34th floor, where he sees a woman answering a phone in an apartment building.
- McClane cautiously explores Nakatomi Plaza, gathering information and avoiding detection. He overhears Hans interrogate Takagi and witness Hans kill him. McClane narrowly escapes detection and continues his exploration.
- McClane hides in a supply closet and overhears William on the phone. Hans and Theo enter a safe room. McClane finds the fire alarm has been cancelled. Tony searches for McClane on the 37th floor. McClane confronts Tony, and they fight, resulting in Tony's death.
- McClane disguises himself and infiltrates the terrorists' hideout, discovering a secret door and rooftop access. Hans remains composed, while Karl seeks revenge for his brother's death. McClane broadcasts a distress call to the police, alerting them to the hostage situation, as Karl and his team close in on the roof.
- McClane flees from the terrorists, leading them to the pump room. He narrowly escapes into an air conditioning duct, while the terrorists search for him. Powell intercepts a police call regarding the incident and heads towards the scene.
- McClane escapes through air ducts, pursued by Karl and his men. Karl senses McClane's presence, but McClane is ready.
- In the final countdown to the 11 o'clock news, Dick Thornburg demands a crew for a breaking story, clashing with Sam's efforts to keep the broadcast on track. Amidst the chaos and Thornburg's threats, Sam assigns a crew, resolving the conflict and sending Thornburg to the scene.
- Powell drives to the Nakatomi building and reports to his radio about the guard inside. McClane enters the machine room and then the board room on the 40th floor. Terrorists Karl, Franco, and Fritz move to set up a machine gun nest on the 3rd floor. Hans communicates with Heinz in the lobby. McClane confronts a terrorist in the board room and a shootout ensues, leading to McClane successfully taking down the terrorist.
- In the aftermath of a shootout, Powell interrogates Heinz but finds no evidence of a terrorist takeover. As he leaves, Heinz notices Powell's bloody footprints. Powell gets into his car under McClane's watchful eye from a window above. Marco's body falls onto Powell's hood, triggering a barrage of machine-gun fire that forces Powell to take cover and call for backup.
- McClane informs Powell of the terrorists' weaponry and warns of their surveillance capabilities. McClane and Theo, now identified as Bill Clay, notice a discrepancy on the employee roster and decide to investigate.
- Deputy Chief Dwayne Robinson arrives at the scene and learns of a lone gunman's claims about terrorists taking over the Nakatomi building. Meanwhile, John McClane and Theo descend to the 39th floor and discover plastic explosives hidden in the floor jam. McClane realizes the explosives could be used as leverage. As they prepare to leave, Theo betrays McClane and lunges for a gun, prompting McClane to kill him.
- John McClane hides detonators and informs Powell and Robinson about explosives and another victim. Powell suggests discarding the detonators, but McClane refuses. Hans Gruber intervenes in the radio conversation.
- Hans calls McClane to offer a truce, but McClane refuses. Hans threatens McClane, who taunts him. Hans asks for McClane's name, who gives him a false one. Hans promises McClane will regret it. Captain Robinson tries to contact Hans, but Hans cuts him off. FBI agents Johnson and Johnson arrive and offer to assist Robinson.
- Hans interrogates Holly about police tactics. Holly suggests negotiation, but Hans dismisses her and implies she's a threat. Hans deduces Holly has children, which affects her. Hans compares police to children needing to experience danger. William watches news about the Nakatomi Building hostage situation and becomes increasingly distressed.
- McClane creates a makeshift barricade and rigs explosives in anticipation of a confrontation with the terrorists. Meanwhile, the terrorists search for him, prompted by Karl's announcement of Theo and Heinrich's deaths. The SWAT team arrives for a briefing, preparing to resolve the hostage situation.
- McClane and Powell discuss the situation over the CB, with McClane complimenting Powell's driving. Inside the police trailer, Mitchell proposes sending two men into the building through the sewers, but Henry objects, saying that it's not possible due to a deep reverse flow conduit. Mitchell asks if Henry has a better way in, and Henry says he might, but needs a light.
- McClane discovers intruders on the 37th floor and engages in a shootout with Karl. He retreats to the stairwell, leaving a trail of blood behind. Terrorists follow the trail, but McClane escapes by hiding in an elevator car.
- McClane warns Powell that the intense spotlight the police have brought is exactly what the terrorists want, but Powell dismisses his concerns. Meanwhile, Hans senses a confrontation approaching, while SWAT officers prepare to enter the Nakatomi building.
- SWAT officers face gunfire while attempting to enter the Nakatomi building. McClane and the police respond, but Hans escalates the conflict by targeting the armored car sent to assist the SWAT team.
- An armored car is engulfed in flames outside of a building as McClane sets up and detonates an explosive inside, causing a massive explosion that destroys a machine gun nest and kills two terrorists. The blast sends debris flying and shatters windows, leaving police officers stunned. McClane successfully weakens the terrorists' position, intensifying the conflict between them.
- Following an explosion, McClane checks on the officers before inquiring about the damage. Powell reveals the building's potential condemnation and McClane's neutralization of three terrorists. Robinson takes charge, reprimanding McClane and ordering his surrender. McClane argues his importance due to the ongoing hostage situation and explosive threat, demanding to speak with Powell again. Robinson dismisses him, leading to McClane's frustration.
- McClane is struggling, but Powell offers support. Hans, Franco, and Karl strategize. Ellis confronts Hans, ignoring Fritz. Hans taunts McClane with Ellis' capture, increasing tension and uncertainty.
- Ellis is interrogated by Hans' men and McClane is forced to make a difficult decision to save his life.
- Hans gives McClane five minutes to get to his office or he will shoot another hostage. Ellis is killed in front of the hostages on the 32nd floor, causing chaos. McClane is chilled by the gunshot and hears Robinson threatening to jam him in jail. The scene ends with McClane turning off the CB and preparing to face Hans.
- Chief Robinson confronts Hans about McClane on CB, who demands the return of equipment in exchange for hostages. Robinson denies McClane's police affiliation, but Hans insists on his control over him. Powell contacts McClane, who cautiously navigates the building's glass-walled offices.
- Robinson approaches Powell but leaves. Inside, Powell reveals he shot a child. Franco overhears and alerts others in German. William warns McClane, saving him from Franco's gunfire.
- McClane is pursued by Franco on the roof of the Nakatomi building. As they reach the edge, McClane tricks Franco into revealing his true identity. Before Franco can kill him, an unseen assailant shoots McClane, causing Franco to be killed by police snipers. McClane is left trapped on the roof, but with the help of Powell and the snipers, he manages to survive.
- John McClane discovers a Mars bar in Franco's kit bag. He then uses the CB radio to connect with Al Powell and William. Powell informs McClane that the FBI is currently in charge of the situation. Despite McClane's concerns about a potential air assault, Powell fails to provide a clear answer. McClane overhears conversations via television in William's limo that confirm the FBI's involvement. Overcoming his fear of heights, McClane deploys a fire hose to descend to the 40th floor, ready to confront the terrorists.
- McClane prepares for a helicopter attack on the roof while William distracts them with loud music. McClane shoots down one helicopter and distracts the other, but runs out of ammunition. Powell confronts Little Johnson about leaving McClane on the roof.
- The second missile strikes the helicopter, causing it to explode and scatter flaming debris across the rooftop. McClane plummets from the building and crashes through a fourth-floor window, narrowly escaping being yanked back out by his harness. Meanwhile, Powell, refusing to believe McClane's death, scrutinizes the helicopter attack footage. McClane, finding a family photo, is reminded of his own family.
- SWAT officers apprehend William, while McClane discovers the extent of the damage caused by the explosion. Hans orders his team to search for detonators.
- McClane realizes he was not adequately warned about the attack and uses explosives to gain control of the 37th floor. Holly sees her children approach her house on TV, while Thornburg tries to convince Paulina to let them talk to McClane.
- Hans interviews the children, demanding McClane's surrender. McClane talks to Holly on the CB, gaining strength from her. Internal conflict arises as McClane struggles to stay focused against Hans's demands. The scene is tense and emotional, with moments of hope and vulnerability. Key dialogue includes Hans demanding detonators, McClane's determination, Holly's fear and longing, and their emotional connection. Significant visuals include the children's interview, Hans and Holly in the office, and McClane waiting in the elevator corridor. The scene ends with McClane moving through the building, determined to face the challenge ahead.
- McClane places detonators in the safe and sets the timer, while Fritz pursues him but is ambushed. Holly blocks out distractions to communicate with McClane and signals the hostages to join him. Karl completes packing the detonators and departs. Holly observes departures and conceals her awareness from Hans. The safe room explodes. SWAT officers approach the building and ascend stairwells, while a helicopter engages the elevator tower. Hans threatens to execute Holly unless McClane surrenders unarmed on the 39th floor.
- McClane and Hans engage in a tense standoff in the safe room, with Holly used as a shield. Karl and Heinz are hit by helicopter fire, escalating the conflict. McClane eventually shoots Hans, saving Holly and resolving the standoff.
- McClane and Holly are reunited with Powell outside the Nakatomi building. Despite Powell's relief, Robinson attempts to question McClane, who dismisses him. Tension escalates when Karl appears with an M-5 machine gun, posing a new threat to the group.
- Outside the Nakatomi building, Karl confronts McClane and Holly with a gun. McClane acts quickly, throwing Holly to safety and grabbing a weapon. Powell intervenes, shooting Karl dead. Afterward, William appears in a limo and offers McClane and Holly an escape before New Year's.
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Character Karl
Description Karl's relentlessness in pursuing McClane seems to waver inconsistently. After hearing McClane in the air vent, he initially ignores Hans' order to trap him, driven by a personal vendetta. However, later he backs down when Franco alerts him to the police presence, which seems out of character given his earlier determination.
( Scene 8 (71) Scene 11 (128) ) -
Character Ellis
Description Ellis's sudden decision to confront Hans and negotiate seems out of character. Throughout the film, he is portrayed as cowardly and self-serving, so his attempt at heroism feels inconsistent with his established personality.
( Scene 27 (279) )
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Description The timeline of events surrounding McClane's arrival and the terrorist takeover is unclear. The script suggests McClane arrives at the party shortly before the terrorists, but it's improbable that he would have time to wash up and make a phone call before the takeover begins.
( Scene 5 (24) Scene 6 (37) )
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Description The explanation for how McClane manages to stop the elevator between floors and climb on top is not fully convincing. The use of a ruler to block the doors seems implausible, and the mechanics of the action are not clearly depicted.
( Scene 9 (86) ) -
Description The timing and logistics of the helicopter attack and McClane's escape are questionable. The script suggests McClane knows about the attack beforehand, but it's unclear how he obtains this information. Additionally, his use of the fire hose to swing into the building from the roof seems physically improbable.
( Scene 34 (354) Scene 35 (385) )
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Description Hans's philosophical speech about children and the police feels out of place and overly expository. While it attempts to provide insight into his character, it comes across as forced and unnatural in the context of the scene.
( Scene 20 (201) )
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Element McClane's questioning of Powell's role
( Scene 17 (173) Scene 21 (219) Scene 22 (220) Scene 31 (306) )
Suggestion McClane repeatedly questions Powell's reasons for being off the street and his past as a cop. While it builds their relationship, some instances could be trimmed or combined to streamline the dialogue and maintain narrative momentum.
John - Score: 89/100
Role
Protagonist
Character Analysis Overview
Mcclane - Score: 93/100
Role
Protagonist
Character Analysis Overview
Hans - Score: 95/100
Role
Antagonist
Character Analysis Overview
Theo - Score: 62/100
Character Analysis Overview
Theme | Theme Details | Theme Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Violence and Action (45%) | Die Hard is known for its intense action sequences. The screenplay is full of shootouts, explosions, and fights, as McClane battles the terrorists. | Violence and action are essential elements of the Die Hard franchise, and they play a major role in the screenplay. | ||||||||||||
Strengthening Violence and Action:
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Terrorism and Hostage Situations (30%) | Die Hard is also a story about terrorism and hostage situations. The terrorists take over the Nakatomi building and hold the hostages captive, and McClane must stop them before they can carry out their plans. | Terrorism and hostage situations are serious issues, and they are explored in a realistic and suspenseful way in the Die Hard screenplay. | ||||||||||||
Christmas (15%) | Die Hard is set on Christmas Eve. The holiday setting adds to the suspense and tension of the film, as McClane faces off against terrorists while trying to save his wife and the other hostages. | Christmas is a time of peace and goodwill, but it can also be a time of darkness and danger. Die Hard explores both sides of the holiday in the screenplay. | ||||||||||||
Family (10%) | Despite all the action and violence, Die Hard is also a story about family. McClane is trying to save his wife, and he is also trying to protect his family from the terrorists. | Family is important to McClane, and it is one of the things that motivates him to fight the terrorists. |
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 |
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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 | |
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internal Goals | The protagonist's internal and external goals revolve around survival, protecting loved ones, and stopping the terrorists |
External Goals | The protagonist's external goals include outsmarting the terrorists, contacting the police for help, and navigating the dangerous situation in the building |
Philosophical Conflict | The overarching philosophical conflict revolves around justice vs. violence, duty vs. self-preservation, and authority vs. rebellion |
Character Development Contribution: The protagonist's goals and conflicts contribute to his development by challenging his beliefs, values, and sense of duty as a police officer
Narrative Structure Contribution: The goals and conflict drive the narrative structure by creating tension, suspense, and a sense of urgency in the screenplay
Thematic Depth Contribution: The goals and conflict add thematic depth by exploring themes of redemption, sacrifice, and the complexity of morality in high-stakes situations
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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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 |
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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? |
Alignment | Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | ||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall | Theme | PC | 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 - Christmas Eve Preparations | Tense, Suspenseful, Witty | 8 | 3 | 2 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
2 - John and William's Journey to Christmas | Affectionate, Light-hearted, Direct | 8 | 6 | 3 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
3 - Arrivals and Introductions | Tense, Awkward, Sarcastic, Formal | 8 | 7 | 4 | 7 | 8 | 9 | 9 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
4 - Reunion in the Dark | Intense, Emotional, Tense, Reflective | 8 | 7 | 3 | 7 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 6 | 9 | 8 | 8 | 8 | 9 | 9 | |
5 - The Heist | Suspenseful, Intense, Tense | 8 | 10 | 8 | 9 | 8 | 8 | 7 | 5 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 6 | 6 | 9 | 9 | 9 | 9 | |
6 - McClane's Standoff | Tense, Suspenseful, Intense, Dramatic | 9 | 8 | 6 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
7 - McClane Infiltrates Nakatomi Plaza | Tense, Suspenseful, Menacing | 9 | 8 | 6 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 9 | |
8 - McClane's Confrontation with Tony | Intense, Suspenseful, Dramatic | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 7 | 8 | |
9 - McClane's Rooftop Infiltration and Distress Call | Intense, Suspenseful, Dramatic | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 7 | 8 | |
10 - Intense Pursuit and Narrow Escape | Intense, Suspenseful, Tense | 9 | 9 | 6 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 7 | 7 | 9 | 9 | 7 | 8 | |
11 - Cat and Mouse in the Air Ducts | Intense, Suspenseful, Tense, Dramatic | 9 | 9 | 6 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 10 | 8 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | |
12 - Race Against Time at the News Desk | Tense, Suspenseful, Intense, Angry, Panicked | 8 | 2 | 3 | 7 | 8 | 9 | 7 | 5 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 6 | 7 | 9 | 9 | 8 | 8 | |
13 - Confrontation in the Nakatomi Building | Intense, Suspenseful, Dramatic | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
14 - Bloody Footprints and a Deadly Trap | Tense, Suspenseful, Terrifying, Frantic | 9 | 6 | 4 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
15 - Reinforcements Arrive | Tense, Suspenseful, Intense, Dramatic | 9 | 8 | 6 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 9 | 8 | 9 | |
16 - Standoff on the 39th Floor | Intense, Suspenseful, Tense, Dramatic | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 7 | 8 | |
17 - Detonators Discovery | Tense, Suspenseful, Intense, Dramatic | 8 | 8 | 6 | 8 | 9 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
18 - Negotiations Break Down | Tense, Suspenseful, Serious, Intense, Sarcastic | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 9 | |
19 - Interrogation and Warnings | Intense, Suspenseful, Tense | 8 | 7 | 5 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
20 - McClane's Barricade and the Terrorists' Search | Tense, Suspenseful, Intense, Dramatic | 8 | 8 | 6 | 8 | 9 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 6 | 9 | 9 | 8 | 8 | |
21 - Outside the Police Trailer | Tense, Suspenseful, Dramatic, Intense | 8 | 8 | 6 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
22 - McClane's Narrow Escape | Intense, Suspenseful, Tense | 8 | 9 | 6 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
23 - The Blinding Spotlight | Intense, Suspenseful, Tense | 9 | 8 | 6 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
24 - SWAT Assault Under Fire | Tense, Suspenseful, Intense, Dramatic | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
25 - Explosive Showdown | Intense, Suspenseful, Dramatic, Tense, Chaotic | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 10 | 9 | 8 | 8 | |
26 - Clash of Authorities: McClane's Confrontation with Robinson | Intense, Tense, Confrontational, Furious | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 7 | 8 | |
27 - Tense Standoff and Urgent Action | Tense, Suspenseful, Dramatic | 8 | 8 | 6 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
28 - A Tense Standoff | Tense, Suspenseful, Intense, Dramatic | 9 | 8 | 6 | 8 | 9 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 9 | 9 | 9 | 7 | 8 | |
29 - Deadly Ultimatum | Tense, Furious, Chilling, Intense | 9 | 8 | 6 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
30 - Negotiations and Movement | Tense, Angry, Determined | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
31 - McClane Under Fire | Intense, Suspenseful, Dramatic, Tense | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 8 | 9 | 9 | 7 | 8 | |
32 - Rooftop Showdown | Tense, Suspenseful, Dramatic, Intense | 9 | 8 | 6 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
33 - McClane's Descent | Intense, Suspenseful, Tense, Dramatic | 9 | 8 | 6 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
34 - McClane's Rooftop Battle | Intense, Suspenseful, Dramatic | 9 | 9 | 6 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
35 - Helicopter Explosion and McClane's Fall | Intense, Suspenseful, Dramatic | 9 | 9 | 6 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | |
36 - Aftermath of the Explosion | Intense, Sarcastic, Dramatic, Suspenseful | 9 | 8 | 6 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
37 - McClane's Plan | Intense, Suspenseful, Dramatic | 9 | 8 | 6 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 10 | 9 | 8 | 9 | 7 | 9 | 9 | 7 | 8 | |
38 - Showdown with Holly | Tense, Emotional, Suspenseful | 9 | 8 | 6 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | |
39 - Ambush and Escape | Intense, Suspenseful, Emotional | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | |
40 - Rooftop Confrontation | Intense, Suspenseful, Emotional | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 9 | 9 | 8 | 10 | 9 | 7 | 8 | |
41 - Reunion and New Threat | Intense, Suspenseful, Emotional, Dramatic | 9 | 8 | 6 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
42 - Close Call and Rescue | Intense, Suspenseful, Emotional, Tense, Dramatic | 9 | 10 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 8 | 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
- High stakes
- Tense atmosphere
- Sharp dialogue
- Emotional depth
Scene Weaknesses
- Some cliched dialogue
- Limited character development
- Predictable elements
- Low conflict level
- Lack of emotional impact
Suggestions
- Work on creating more unique and nuanced dialogue
- Focus on developing supporting characters and exploring their motivations
- Experiment with plot twists and surprises to avoid predictability
- Increase conflict and stakes to heighten the tension and create a stronger emotional impact
- Continue to strengthen the action sequences while also balancing with character development and emotional moments
Scene 1 - Christmas Eve Preparations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 2 - John and William's Journey to Christmas
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 3 - Arrivals and Introductions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 4 - Reunion in the Dark
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 5 - The Heist
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 6 - McClane's Standoff
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 7 - McClane Infiltrates Nakatomi Plaza
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 8 - McClane's Confrontation with Tony
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 9 - McClane's Rooftop Infiltration and Distress Call
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 10 - Intense Pursuit and Narrow Escape
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 11 - Cat and Mouse in the Air Ducts
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 12 - Race Against Time at the News Desk
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 13 - Confrontation in the Nakatomi Building
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 14 - Bloody Footprints and a Deadly Trap
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 15 - Reinforcements Arrive
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 16 - Standoff on the 39th Floor
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 17 - Detonators Discovery
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 18 - Negotiations Break Down
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 19 - Interrogation and Warnings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 20 - McClane's Barricade and the Terrorists' Search
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 21 - Outside the Police Trailer
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 22 - McClane's Narrow Escape
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 23 - The Blinding Spotlight
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 24 - SWAT Assault Under Fire
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 25 - Explosive Showdown
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 26 - Clash of Authorities: McClane's Confrontation with Robinson
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 27 - Tense Standoff and Urgent Action
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 28 - A Tense Standoff
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 29 - Deadly Ultimatum
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 30 - Negotiations and Movement
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 31 - McClane Under Fire
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 32 - Rooftop Showdown
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 33 - McClane's Descent
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 34 - McClane's Rooftop Battle
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 35 - Helicopter Explosion and McClane's Fall
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 36 - Aftermath of the Explosion
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 37 - McClane's Plan
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 38 - Showdown with Holly
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 39 - Ambush and Escape
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 40 - Rooftop Confrontation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 41 - Reunion and New Threat
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 42 - Close Call and Rescue
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 1 - Christmas Eve Preparations
Scene 2 - John and William's Journey to Christmas
McClane's quiet observation of the businessman's happy reunion hints at his own longing for connection, setting the stage for his later resilience when facing overwhelming odds. His interaction with William, the limo driver, shows a capacity for connection despite his gruff exterior. William's informal and curious questioning reveals a contrasting approach to life, highlighting McClane's established routines and the contrast with the chaotic events to come. McClane's quiet acceptance of William's casual demeanor suggests a willingness to adapt. However, this is largely suggestive; the scene doesn't actively demonstrate McClane's ingenuity or problem-solving in the face of adversity.
The conversation between McClane and William touches upon the theme of individualism versus institutionalism. McClane, as a New York cop, represents a certain level of individualism, operating outside of the structures of the institution of the LAPD. His unwillingness to simply move for his wife's career hints at a dedication to his own chosen path and values. However, this conflict remains underdeveloped. There’s no clear antagonist representing institutional control, and the conflict is never explicitly stated or explored. The focus is more on character introduction and establishing a contrast between McClane’s personality and the environment he is entering.
- Theme Alignment Suggestions:
- Enhance McClane's resourcefulness by subtly showcasing a skill or ability he uses in his interactions with William (e.g., reading William's body language, using observation skills).
- Add a small obstacle or challenge in this scene that McClane needs to overcome in a resourceful way (e.g., a minor problem with the limousine or the airport).
- Include a brief internal monologue from McClane showing his thought process about his upcoming challenges and how he's mentally preparing for the events at Nakatomi Plaza.
- Focus on McClane's reactions to the Christmas decorations, suggesting the stark contrast between his New York world and the seeming superficiality of this new environment.
- Philosophical Conflict Alignment Suggestions:
- Introduce a character who represents institutional authority or a contrasting philosophy to McClane (e.g., a police officer on the phone, or a brief interaction with someone with a very different worldview).
- Expand the conversation between McClane and William to include an explicit discussion of loyalty and belonging, highlighting the contrast between McClane's indepen
Engine: Claude
Recommend
Explanation: Die Hard is a gripping, character-driven action thriller with a strong narrative drive and well-crafted set pieces. The screenplay features a compelling protagonist in John McClane, who undergoes a meaningful transformation as he fights to save his wife and stop a group of ruthless terrorists. The dialogue is sharp and realistic, and the action sequences are visually compelling and integral to the storytelling. While there are some opportunities to further develop the supporting characters and explore thematic depth, the screenplay is a strong, well-executed example of the action genre that would likely appeal to a wide audience.
Engine: Gemini
Highly Recommend
Explanation: Die Hard is an exceptional action screenplay with a strong protagonist, well-paced action sequences, and a good balance of humor and character development. While some supporting characters could be further fleshed out and the ending could provide more closure, the overall narrative is compelling and engaging. The screenplay effectively uses media and technology to escalate the tension and stakes, making it a standout in its genre.