Die Hard Screenplay Analysis

7/31/2019 Die Hard Screenplay Analysis

1/13

DIE HARD(1988)wri$enbyJebStuartandStevenEdeSouza

basedonthenovelNothingLastForeverbyRoderickThorpe

directedbyJohnMcTiernan

runningAme:128minutes

BASIC SCREENPLAY ANALYSIS

PROTAGONIST:JohnMcClane,40s,NYCdetecAve.

CHARACTERIZATION/MAINMISBEHAVIOR :Selfish;unabletocompromise

EXTERNALGOAL:TosaveHollyandtheNakatomihostagesfromHansGruber

INTERNALGOAL:Tobeselfish/Tosupporthiswife

MAINDRAMATICCONFLICT :HansGruber

THEME:Dontjudgeabookbyitscover.

CENTRALDRAMATICQUESTION :WillMcClanelearntosupporthiswifesambiAonsandsaveherfrom

HansGruber?

ENDING:McClaneriskshislifeandsavesHollyfromHans.

ARC:McClanegoesfromamanwithamarriageparalyzedbyhisselfishness,toamanwhorealizes

marriageisaboutcompromise,andintheend,riskshislifetosavehiswife.

STORY ENGINES

ACTI

McClanearrivesattheNakatomiChristmasparty.Momentslater,thepartyistakenhostagebyHans

Gruber.erwitnessingthemurderofHollysboss,McClaneescapestoanupperlevelandpullsthe

buildingsfirealarmtoalerttheauthoriAes.

ACTII-A

erHanscallsoffthefirealarm,McClanefightsandkillsoneofhismen,takingawalkie-talkietoalert

theauthoriAesagain.McClaneisforcedtothrowadeadbadguyoutawindowandshootupacopcarto

fullyengagetheLPD.

ACTII-B

NowwithLPDonthescene,McClaneusestheC4anddetonators(stolenfromadeadbadguy)andtakes

outHanssmenkillingill-preparedSWTteams.ImpersonaAngahostage,HansstumblesuponMcClane

andmanagestogethisdetonatorsbackaeranintensegunfight.

ACTIII

DiscoveringHansplantoblowtheroof,McClanesavesthehostages,butfindshiswifehasbeentaken

hostagebyHans.McClanegoesupagainsttheodds,andulAmately,killsHansandsaveshiswife.

DieHardScreenplaynalysis

ScreenplayHowTo.com

Page1
http://screenplayhowto.com/screenplay-analysis/die-hard-screenplay/http://www.screenplayhowto.com/http://www.screenplayhowto.com/http://screenplayhowto.com/screenplay-analysis/die-hard-screenplay/http://screenplayhowto.com/screenplay-analysis/die-hard-screenplay/


2/13

FULL SCREENPLAY ANALYSIS

ACT I

1-AshisplanelandsatLAX,JOHNMCCLANEshandsaretenseontheairplanearmrests.

NOSHOESSETUP:ApassengertellsMcClanetotakeoffhisshoestolessenanxiety.

FEAROFHEIGHTSSETUP:McClanesanxiousabouttheplanelanding.

2-PassengernoHcesagunonMcClane.McClanesethimateaseandtellshimhe'sacop.

3-NakatomiChristmasParty.ELLISLOWEhitsonHOLLYGENNARO.

5-ollysonacallwithherkids.ItsrevealedMcClaneisvisiHngfortheChristmasholiday.

6-ollyslamsdownafamilypictureonherdesk:shehascontemptforherhusband.

7-ARGYLE,thelimodriver,discoversMcClanesaworkingclassguy:hisfirstHmeinalimoand

hesitsupfront.McClanerevealshe'sbeenseparatedfromhiswifeforsixmonths.

ARGYLE So, you divorced? MCCLANE She had a good job, it turned into a great career.

ARGYLE So, why didn't you come? MCCLANE 'Cause I'm a New York cop. I got six months backlog of New York scumbags I'm still trying to put behind bars. I cant just pick up and go that easy. ARGYLE In other words, you thought she wasnt gonna make it out here and she'd come crawling on back to you, so why bother to pack, right? MCCLANE Like I said, you're fast, Argyle.9-ArgyleandMcClanehititoff.ArgylewillbewaiHngintheparkinggarageifthingsdon'tgo

wellwithhiswife.


ScreenplayHowTo.com

Page2


3/13

10-INCITINGINCIDENT(internal):McClanediscoversollyisnotusinghislastname.

11-INCITINGINCIDENT(external):McClanefindshiswayintotheNakatomiChristmasparty.

13-JOSEPHTAKAGI,olly'sbossandpresidentofTheNakatomiCorporaHon,introduces

himselftoMcClane.Takagitakeshimtoolly'soffice,wheretheyfindEllissnorHngcocaine.

14-ollywalksintoheroffice.Awkwardmoment,butshehugsMcClane.Ellis,insulHng

McClanessocialstatus,insistsollyshowhimthewatch.

GOLDROLEXSETUP:

ELLIS Show him the watch. HOLLY Later. ELLIS Well, go on. Show him. What, are you embarrassed? Its just a small token of appreciation for all her hard work. Its a Rolex. MCCLANE Im sure Ill see it later.16-GENNAROvsMcCLANESETUP :ollytakesMcClaneintoEllissprivateoffice.Sheaskshim

tostayatherhouseforthekids,butMcClanearguesoverheruseofGennaroasalastname.

ollyneedsthename,asNakatomiisaJapanesecompany.

McClanesmorefocusedonhisneeds,notollysdesiretohavecareer.

17-Theirargumentsinterrupted--ollymustgiveaspeechtotheemployees.SHllangry,

McClanerefusestosupporthiswifeandstaysintheprivateoffice.

18-Twomen,KARLandTHEO,enterthelobbyofNakatomiandkilltwosecurityguards.

19-Atruckarrivesintheparkinggarageandmoremenappear.HANSGRUBERleadsthepack.

20-Thebadguysgotowork.Disguisedassecurity,theyshutdownNakatomiplazaaccessfrom

theoutside,nottomenHon,preventanyoneinthebuildingfromleaving.

22-McClanefollowstheadvicefromtheplanepassengerandtakesoffhisshoes.ecalls

Argyle,butthecalliscutshort--thebadguyshavecutthephonelines.


ScreenplayHowTo.com

Page3


4/13

24-STRONGMOVEMENTFORWARD:McClanehearsgunshotsandimmediatelygrabshisgun:

thebadguyshaveinvadedthepartywithforce.espotsanexit

25-Thebadguyssweeptheoffices,butMcClaneescapedtotemporarysafetyupstairs.

27-ansGruberaddressestheparty,criHcizingTheNakatomiCorporaHon.efindsTakagiandtakeshimtoelevator...

28-McClanenoHcesthebadguyshavebroughtheavyweaponry--arocketlauncher.

29-anstakesTakagitotheupperleveloffices.NoHcingmodelsofnewNakatomi

developments...

HANS And when Alexander saw the breadth of his domain he wept, for there were no more worlds to conquer.30-ansdemandsthevaultcodekeyfromTakagi,asitcontains$640millioninbearerbonds.

32-TURN/PLOTPOINT#1:McClane,gundrawn,spiesonansandTakagi.Takagiinsistshe

doesn'tknowthecodeandanskillshimwithouthesitaHon.McClaneseesTakagi'sbrains

splaeredacrosstheglassanddartsoutoftheoffice.

ItsnotkidnappingorextorHon--itslifeanddeath.

34-Thebudguyswiretheroofwithexplosives.

35-DECISION:Afewfloorsabove,McClanepullsthefirealarm.Thebadguysnowknowwhatfloorhe'son.


ScreenplayHowTo.com

Page4


5/13

ACT II-A

36-Thebadguyscall911,reportafalsealarmandMcClaneseestheinboundfiretrucksturn

around.

37-TONYsweepsthefloorMcClane'son.McClanegetsthedroponhim,butTonyknocksthegunfromhishands.

38-FIRSTTRIAL/FIRSTCASUALTY:TonyandMcClanefight.Theywrestledownaflightofstairs

andTonybreakshisneck.

39-McClanenowhasawalkie-talkieandmachinegun,butunfortunately,noshoesthatfit.

41-McClanesendsTonysbodydowntheelevatorwithaSantahatandnotewrienonhis

chest:"NowIhaveamachinegun.o,o,o."BoththebadguysandtheenHrepartyseethe

body.

42-McClaneeavesdropsfromabovetheelevator.ehasaroughcountoftheirnumbers,afew

oftheirnamesandthattheyareGerman.

44-TonyhappenedtobeKarlsbrotherandnowKarlwantsblood.anscalmshimdownand

insistshefocusonthejob,buttheresarageinside.

KarlwillstopatnothingtokillMcClane.

44-ollyandEllisobserveansandKarlandknowMcClaneisresponsible.Ellisisupsetwith

McClaneforendangeringtheirlives.ollydefendsherhusband:"he'sdoinghisjob."

45-McClanemakesanemergencycallfromtheroofwiththewalkietalkie.ansandKarl

overhearitandimmediatelyknowhislocaHon...

46-WhilecommunicaHngthepolicedispatch--whobelievehisstoryisaprank--McClane

takesfirefromKarlandcrew.DispatchoverhearsthecommoHon,notbelievingit'sgunfire,and

sendapoliceofficertoNakatomi.

46-Buyingtwinkles,OFFICERALPOWELLgetsthecallforNakatomi.


ScreenplayHowTo.com

Page5


6/13

46-48-COMBAT:GunbalebetweenKarlandMcClane.McClanemanagestooutmaneuver

them,butintheprocess,trapshimselfinsideanunusedelevatorsha.

52-Danglingintheelevatorsha,McClaneusesthemachinegunandstrapasaropeand

anchor,aempHngtoreachanairductalonganadjacentwall.eslipsandrocketsafewfloors

down,barelymanagingtomakeitinsideanotherduct.earingthecommoHon,KarlseesthelightfromMcClanescigareelighterandknowsthefloorheson.

53-Searching,KarlspraysbulletsintotheairductMcClane'sin,barelymissinghim.Justashe's

abouttostumbleonMcClane,Karlissummonedawaybyans.

55-OfficerPowellentersNakatomiandtheimpostorsecurityguardplaysitoff,claimingthey've

beenhavingproblemswithfalsealarmsallnight.

57-McClanespotsPowell'scar.WhileaempHngtobreakawindowtoalertPowell,McClaneis

fireduponandtakesouttwobadguys.

58-MIDPOINT:PowellfindsnothingwrongatNakatomiandleaves.NoHcingPowellbeginto

leave,McClanethrowsadeadbodyoutthewindowanditlandsonPowell'scarhood,

shaeringhiswindshield.McClanethenopensfireonPowellspolicecruiserandscreams...

MCCLANE Welcome to the party, pal!


ScreenplayHowTo.com

Page6


7/13

ACT II-B

59-Whiletalkingtohisgirlfriendaboutdinnerplans,RICHARDTHORNBURG,newsreporter,

overhears"shotsfiredatNakatomi"throughthepolicescannerandabruptlycancelstheplans.

59-Policeshowupindroves.ansassureshismeneverythingisokay.

60-McClanecallsansoverthewalkietalkie.Whiletalkingwithans,McClanediscovershe

nowhasexplosives,butunfortunately,sHllnoshoesthatfit.

HANS You know my name, but I don't know yours. Just another American who saw to many movies as a child? Another orphan of a bankrupt culture who thinks he's John Wayne? Rambo? Marshall Dillion? MCCLANE I was always kinda partial to Roy Rogers, actually. I really liked those sequin shirts. HANS Do you really think you have a chance against us, Mr. Cowboy? MCCLANE Yippee-ki-yay, motherfucker!62-ThornburggetsacrewandnewstruckforcoverageontheNakatomiincident.

62-ansisinformedMcClanenowhasthedetonators.

64-McClanegivesPowellinfoonansandhismen.

65-DEPUTYPOLICECHIEFROBINSONquesHonsPowellaboutMcClane.Robinsonbelieves

McClanecouldbeaterrorist.

67-ollyapproachesans,whohasnowtakencommandinheroffice,askingforrestroom

breaksforherco-workers.Perhapsaractedtoolly,ansaskshername.NoHcingherfamily

pictureface-downonthedesk,shebrieflyhesitatesandreplies,"MissGennaro."

68-Argyle,sHllparkedunderthebuilding,overhearsThornburg'snewsbroadcast.

69-RobinsonandPowellargue.Thepolicehitthebuildingwithspotlights:they'regoingin.

70-Spotlightshitthebuildingandansknowsthepolicearecoming.ismentakeacHon...


ScreenplayHowTo.com

Page7


8/13

73-Thebadguystakeoutthespotlights.SWATteamsaempttobreachthelobby,butarefired

uponandheldback.

75-Thepolicesendinanarmoredtankandthebadguyshititrepeatedlywitharocket

launcher.

76-Overthewalkie-talkie,McClanebegsanstostop,butansordershismentoconHnue

barbecuingtheofficersinthetank.

77-ASSUMPTIONOFPOWER:McClanetakestheC4,wiresittoachairwithacomputer

monitor,andtossesitdownanelevatorsha.Theexplosiontakesoutthetwoguyswiththe

rocketlauncherandMcClanesavestheday.

82-Ellis,theslick-dicksalesman,aemptstonegoHatewithanstobringMcClanein.

83-McClaneandPowellbond.AsPowelllisMcClane'sspirits,ansinterrupts

84-EllishasgiventhemMcClane'snameandoccupaHon,butdidn'trevealollyashiswife.

EllisaemptsnegoHaHngdeliveryofthedetonators,butMcClanerefusesandanskillsEllis.

86-ThepoliceheartheenHreincident.RobinsonblamesMcClane,butPowelldefendshim.

88-anscontactsRobinsonanddemandsthereleaseofinternaHonalterrorists.

90-AGENTSJOHNSON&JOHNSON,withtheFBI,arriveandtakecommand.

93-ans,searchingtheriggedroofalone,stumblesuponMcClane.Unabletoreachhisgun,

ansusesanAmericanaccenttoimpersonateahostageandfoolsMcClane.NoHcingMcClanesbarefeet,ansandMcClanesharealaugh.

95-TURN/PLOTPOINT#2:McClanegivesanshisgun.ansthenrevealshimselfandturns

thegunonMcClane,demandinghisdetonatorsback.

REVERSAL:ansaemptstoshootMcClane,butdiscovershesbeengivenagunwithno

bullets.

96-JustasMcClanethinkshehastheupperhand,Karlandcrewshowup.Agunbaleensues

andMcClanetakesouttwomoreofthemen.

98-NOSHOESPAYOFF:RememberingMcClaneswithoutshoes,ansordershismentoshoot

alltheglass.Machinegunoutofbullets,McClanefindshimselfpinneddown.

98-DECISION:McClanemanagestoescape,butisforcedtoleavethedetonators.

HansoutsmartedMcClane,nowhashisdetonatorsback,andcanexecutehisplan .


ScreenplayHowTo.com

Page8


9/13

ACT III

99-ollynoHcesansandKarlastheycomebackfromthebale.Inarage,Karltrashesa

mini-barandollyknowsherhusband'ssHllalive.

101-Pullingbrokenglassfromhisbloodyfeet,McCLanechatswithPowell.

101-POWELLSMISTAKESETUP:PowellrevealstoMcClanehisbiggestmistakeasanofficer:

shooHngakidwithatoygun.

POWELL You know, when you're a rookie they can teach you everything about being a cop, except how to live with a mistake. Anyway, I just couldn't bring myself to draw my gun on anybody again.103-TheFBIordersthebuildingspowershutoff.Thisisthefinalkeytoopeningthevault,justasanshadplanned.

HANS You ask for miracles, Theo. I give you the F.B.I.104-Thevaultopens.ansnowhas$640millioninbearerbonds.

105-TheFBIcallsinair-support.

106-anscontactstheFBI.ThehelicoptersarereadyandthestatedepartmenthasorganizedthereleaseoftheinternaHonalterrorist.anslaughs

HANS They touch down, we blow the roof, they spend a month sifting through the rubble and by the time they figure out what went wrong, we'll be sitting on a beach earning twenty percent.107-POINTOFNORETURN(internal):McClaneasksPowelltofindhiswifeandapologizefor

him.eshouldhavebeenmoresupporHve,heshouldhavecompromisedinmarriage.

MCCLANE She's heard me say I love her a thousand times. She's never heard me say I'm sorry.108-McClanewonderswhatanswasdoingontheroof.InstrucHngPowelltokeepradio

silence,McClanegoesbacktoinvesHgate.


ScreenplayHowTo.com

Page9


10/13

109-Thornburgstrong-armstheMcClane'smaid:he'llhaveherdeportedifshedoesn'tallow

aninterviewwiththeMcClanechildren.

110-McClanefindstheroofriggedwithexplosives.AsheaemptstowarnPowellaboutthe

explosives,Karlgetsthedroponhim.McClaneknockstherunoutofhishandandabare-

knucklebrawlensues.

111-THORNBURGvsHOLLYSETUP:Asthehelicoptersapproach,ansnoHcesThornburg's

interviewwiththeMcClanechildren.eturnsoverthephotographonollysdeskand

discoversshesMcClane'swife.Sendingthehostagestotheroof,anstakesollywithhim.

112-TriggerhappyFBImencloseinonthebuilding,aimingtokillalltheterroristsontheroof,

withapotenHal25%casualtyrateforthehostages.

113-KarlmanagestogetMcClane'sgun.AsMcClane'sflees,hesgrazedbyabullet.

114-McClane,disarmingKarlonceagain,managestohangKarlfromthechainsofaturbine.

115-POINTOFNORETURN(external):McClanemakeshiswaytotheroofandkillsaguard.e

ordersallthehostagesofftheroofandhearsollyhasbeentakentothevaultbyans.

115-ThehostagespanicandMcClanefireswarningshotsabovehisheadtogetthemmoving.

ThisgetstheaenHonoftheapproachingFBIhelicoptersandtheyopenfireonMcClane.

116-PinnedbytheFBIontheoppositeendoftheroofexit,McClane,knowinghehasmere

secondsbeforetheroofblows,Hesafirehosearoundhiswaist.

116-Oneofans'smenspotsthehostagescomingbackdown.ansorderstheroofblownimmediately.

117-FEAROFHEIGHTSPAYOFF:Standingontheroof'sledgewithafirehosesecurearoundhis

waist,McClanejumpsjustastheFBIopensfireandansblowstheroof.TheFBIhelicoptergoes

upinflamesandMcClaneplummetsdownthesideofthebuilding...

118-Fallingtohisdeath,thefirehosemounHngstopsMcClaneinmidfree-fall.eshootsouta

windowandmanagestoswinginsidetosafety.JustwhenMcClanethinkshe'ssafe,the

mounHngfallsoverthebuildingsledge.Inchesbeforetheweightofthemountpullshimout

thewindow,heunHesit.

119-ArgylespotsTheobackinganambulanceoutofoneoftheirtrucks.


ScreenplayHowTo.com

Page10


11/13

120-Nearthevault,McClaneoverhearsansandolly,buthe'sonlygottwobulletsle.

120-Argylecrashesthelimointotheambulance,takingoutTheo.

121-McClane,bloodiedtoallhell,getsthedroponansandhisguard,butansgetsbehind

ollyandputsaguntoherhead.ansordersMcClanetodrophismachinegunandMcClanedoesso.McClanestartslaughinghe'sgothisBareatapedtohisback.

122-DistracHnganswithhislaughter,McClanepullsthegunfrombehindhisback,shooHng

ansinthechestandthelastbadguyintheforehead.

123-ansfallsoutthewindow,butmanagestograbholdofolly'swristwiththegoldRolex.

123-GOLDROLEXPAYOFF:McClanereleasesolly'swatchandansfallstohisdeath,takinga

symbolofmaterialism--thegoldRolex--withhimtothepavement.

123-CLIMAX:McClanesavesollyfromans.


ScreenplayHowTo.com

Page11


12/13

EPILOGUE

125-GENNAROvsMcCLANEPAYOFF:Outside,PowellimmediatelyrecognizesMcClane.

McClane,withollyinhisarms,walkstoPowellandtheyembrace.

MCCLANE Powell, this is my wife, Holly...Holly Gennaro. HOLLY (correcting McClane) Holly McClane.126-RobinsonappearsandreprimandsMcClaneforEllis'sdeath.AsMcClanereachesbackto

punchhim,peoplescream.Karl,justasbloodiedasMcClane,drawshismachinegunon

McClane.McClanecoversollywithhisbodyasgunshotsringout.

126-POWELLSMISTAKEPAYOFF:Karlfallstotheground,dead.Powellstandsconfident,

holdinghissmoking.38Specialsteady.

Powellfindsthecouragetousehisguninthelineofdutyagain.

127-THORNBURGvsHOLLYPAYOFF:ThornburgaemptstointerviewtheMcClane'sonliveTV

andollypuncheshimonthenose.

127-ArgyleburstsoutoftheundergroundgarageandpicksuptheMcClaneandolly.

128-Inthelimo,McClaneandollydriveoffintothenewday...

128-THEEND.


ScreenplayHowTo.com

Page12


13/13

Anotefromtheauthor:

Wrienanalysisoffilmisacrucialstepforanyscreenwriter.Ivefoundnobeerwaytolearn

thecrathanbreakingdownmyfavoritefilmsanddiscoveringwhatmakesthemHck.Ifyouve

nevercompletedanalysisofafilmand/orscreenplay,Irecommendusingthismethodwithyour

favorites.Getdetailed.Putinthehours.Youllbegladyoudid.

TheanalysisyouvejustreadisbasedonDanielP.Calvisis StoryMaps:HowtoWriteaGREAT

Screenplay.AerreadingagreatnumberofbooksonscreenwriHng,DansStoryMapsmethod

helpedbringitalltogether.Withthoroughcommentaryonconceptandtheme,hisstructure

paradigmiseasytounderstandandapply.StoryMapsisaninsighullookatthecraof

screenwriHng,amustreadfortheaspiringscreenwriter.

Aboutthebook:

LearnthesecretstowriHngaGREATscreenplayfromamajor

moviestudioStoryAnalystwhowillshowyouhowtoBLOWAWAYTEREADER!Masterthestructureandprinciplesused

by95%ofcommercialmoviesbystudyingdetailed

breakdowns,orStoryMaps,ofseveralrecenthitmoviesin

alldifferentgenres,includingTheDarkKnight,TheWrestler,

HowtoLoseaGuyin10Days,DragMeToHellandthe

classicsAsGoodAsItGetsandSunsetBoulevard.

Thebookcitesexamplesfromhundredsoffilms,several

televisionseriesandincludessamplesfromactualproduced

screenplaystoshowyouOWTODOIT.Thebookprovides

detailedlessonsonformat,capturingvoiceandtoneonthescriptpageanddevelopinggreatcharacterswithpowerful

dialogue.

YoucanpurchaseDansbookfromAmazon.comortheiTunesStore.

ThankyouvisiHngScreenplayowTo.comanddownloadingtheanalysis.Ifyouhaveany

quesHonsaboutwhatyouvejustread,pleaseleaveacomment,orsendanemailtorrat

screenplayhowtodotcom.Andalwaysremember...

Apersonwhowontreadhasnoadvantageoveronewhocantread.

~MarkTwain


ScreenplayHowTo.com

Page13
http://screenplayhowto.com/screenplay-analysis/die-hard-screenplay/http://www.screenplayhowto.com/http://www.screenplayhowto.com/http://screenplayhowto.com/screenplay-analysis/die-hard-screenplay/http://screenplayhowto.com/screenplay-analysis/die-hard-screenplay/http://click.linksynergy.com/fs-bin/stat?id=zAruaI7mE0M&offerid=146261&type=3&subid=0&tmpid=1826&RD_PARM1=http%253A%252F%252Fitunes.apple.com%252Fus%252Fbook%252Fstory-maps-how-to-write-great%252Fid451066741%253Fmt%253D11%2526uo%253D4%2526partnerId%253D30http://click.linksynergy.com/fs-bin/stat?id=zAruaI7mE0M&offerid=146261&type=3&subid=0&tmpid=1826&RD_PARM1=http%253A%252F%252Fitunes.apple.com%252Fus%252Fbook%252Fstory-maps-how-to-write-great%252Fid451066741%253Fmt%253D11%2526uo%253D4%2526partnerId%253D30http://www.amazon.com/gp/product/B006X6FNUC/ref=as_li_ss_tl?ie=UTF8&tag=alignsolut-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B006X6FNUChttp://www.amazon.com/gp/product/B006X6FNUC/ref=as_li_ss_tl?ie=UTF8&tag=alignsolut-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B006X6FNUC

Documents

Die Hard Screenplay Analysis