30 Days of Screenplays — Day 6: “Die Hard”
Welcome to June and the series: 30 Days of Screenplays.
Why 30 screenplays in 30 days?
Because whether you are a novice just starting to learn the craft of screenwriting or someone who has been writing for many years, you should be reading scripts.
There is a certain type of knowledge and understanding about screenwriting you can only get from reading scripts, giving you an innate sense of pace, feel, tone, style, how to approach writing scenes, how create flow, and so forth.
So each day this month, I will provide background on and access to a notable movie script.
Today is Day 6 and the featured screenplay is for the movie Die Hard (1988). You may access an HTML version of the script here.
Background: The screenplay was written by Jeb Stuart and Stephen E. De Souza, based on a novel by Roderick Thorp.
Plot summary: New York cop John McClane gives terrorists a dose of their own medicine as they hold hostages in an LA office building.
Tagline: Twelve terrorists. One cop. The odds are against John McClane… That’s just the way he likes it.
Awards: Nominated for 4 Academy Awards.
Trivia: This was based on a book by Roderick Thorp entitled “Nothing Lasts Forever” — a sequel to another book entitled “The Detective”, which in 1968 was made into a film starring Frank Sinatra. Because of a clause in Sinatra’s contract for “The Detective” which gave him the right to reprise his role in a sequel, he was actually the first person offered the McClane role, even though he was 73 years old at the time. Also, Coincidentally, Bruce Willis made his movie debut in The First Deadly Sin walking out of a bar as Sinatra walks into it.
Die Hard was one of the first action scripts I read, actually several different drafts (Larry Gordon, who produced Die Hard, also produced K-9). And I think it was while I was going through those drafts that the concept of narrative voice began to form in my mind, the idea that there is an invisible character in our scripts — the Narrator — reflected in the style and tone of the scene description we write. Because when you read DH, the scene description just oozes with… well… action! Precisely what it’s supposed to per the formula: Genre + Style = Narrative Voice.
As you read it, you will note that this is a shooting script with scene numbers and lots of camera shot references. Reminder: Do not do this in your spec script. You are writing a selling script which per current style guides is supposed to be as ‘literary’ as possible.
Also while you’re reading the script, think about these character archetypes: Protagonist, Nemesis, Attractor, Mentor, Trickster. The characters in Die Hard fall neatly into place into the paradigm.
OBSERVATIONS: In his fantastic book “Adventures in the Screen Trade,” William Goldman states point blank that the single most important thing a screenwriter can do is write roles that name actors want to play. And even though Hollywood’s fascination with CGI, which has elevated eye-popping technologies above movie stars in terms of their relative importance to most major motion pictures, it’s still hugely beneficial to write lead roles that feel ‘big,’ and depending upon the genre and scope of the story, even iconic. John McClane is certainly that kind of role.
Don’t forget, there is another big star in Die Hard — the skyscraper itself. Actually named Fox Plaza and located ironically enough in Century City (which used to be the back lot of 20th Century Fox), it figures in every scene in the movie.
But the main thing I want to focus on is this: finding an emotional connection in an action film.
The Protagonist, John McClane (Bruce Willis), finds himself in an extraordinary situation — a lone cop versus a heavily armed group of thieves who take over a skyscraper and hold a group of employees hostage. But how emotionally connected to all that action would we be if we weren’t somehow emotionally connected to McClane? And what is the core of that emotional connection? Something simple and relatable: McClane is estranged from his wife Holly (Bonnie Bedalia). Here’s the key scene in the movie that handles their discord:
INT. ELLIS' OFFICE - NIGHT 21TILT UP FROM McClane's BARE FEET. He is clenching and
unclenching his toes.MCCLANE
(surprised, actually feeling
tension decline)
Son-of-a-bitch. It works.Holly sits on the desk here, watches him remove his jacket, tie
shirt, etc. Begin to wash up in the private bath.HOLLY
What are you doing?MCCLANE
It's a long story. You know, I
think that Ellis has his eye on you.HOLLY
That's okay...
(pause)
... I have an eye on his private
bathroom.McClane's face shows his relief (or rather, his attempt not
to show any).HOLLY
So, where are you staying? This
all happened so fast I didn't even
ask you on the phone.McClane finishes drying his face and steps to the bath doorway.MCCLANE
Well, Cappy Roberts retired out
here a couple years ago. He said I
could bunk with him.HOLLY
Oh...Where does he live?MCCLANE
Ramona...no, Pomona, that's it.HOLLY
Pomona! You'll be in the car the
whole time...Look, let's make this
easy. I have a spare bedroom. It's
not huge, but the kids would love to
have you at the house.McClane fixes her with a look.MCCLANE
They would, huh?HOLLY
(beat; honest)
I would too.They lock eyes for a moment, but it's an intense moment that
says a lot about how they still feel about each other.Just then a man and a woman, both a little tipsy, open the
door to the office, see that it's occupied and beat a hasty
retreat. The interruption temporarily dents the mood. Holly
tries to smile. But for McClane it's the last frustration.HOLLY
...I've missed you.MCCLANE
Especially my name. You must miss
it every time you write a check. When
did you start calling yourself
'Ms. Gennero'?HOLLY
(caught)
This is a Japanese company, you know?
They figure a married woman, she's on
the way out the door...MCCLANE
Sure. It's unnerving. I remember
this one particular married woman,
she went out the door so fast there
was practically a jetwash...I mean,
talk about your wind chill factor...HOLLY
Didn't we have this same conversation
in July? Damn it, John, there was
an opportunity out here -- I had to
take it --MCCLANE
No matter what it did to our marriage -- ?HOLLY
My job and my title and my salary did
nothing to our marriage except change
your idea of what it should be.MCCLANE
Oh, here it comes. One of those
'meaningful relationship conversations.'
I never should've let you get those
magazine subscriptions --HOLLY
You want to know my idea of a marriage?
It's a partnership where people help
each other over the rough spots --
console each other when there's a
down...and when there's an up, well,
hell, a little Goddamn applause or
an attaboy wouldn't be too bad.
(quietly)
I needed that, John.
(pause)
I deserved that.There's a clumsy pause as if she's almost challenging him to
say...something but he sets his jaw, says nothing. Just then
the door opens and Ginny leans inside.GINNY
Miz Gennero? Mr. Takagi is looking
for you...he wants you to say something
to the troops...HOLLY
Thanks, Ginny. I'll be a second.
Oh, this is --MCCLANE
(mock bright 'radio' voice)
Hi. John Gennero here. I'm the
sensitive and supportive man of the
eighties.Ginny looks puzzled, goes out. Holly sighs, moves to the
door.HOLLY
I'll be a few minutes. Wait here --MCCLANE
Don't I always?She's gone. Immediately, he slaps his forehead, contrite.MCCLANE
(to himself)
Schmuck!
Of course, it won’t be a few minutes as the story’s Nemesis, Hans Gruber (Alan Rickman), and his gang are just about to take over the building — which means that McClane carries this cliffhanger of a conversation with his wife all the way throughout the rest of the story.
A much later scene where he talks to Powell, to give her a message should he never see Holly again, brings it all home:
MCCLANE
Look up my wife...don't
ask how, you'll know by then...and
tell her...tell her...I've been a
jerk. When things panned out for
her, I should've been behind her
all the way.
So in the External World, McClane is fighting to defeat the Bad Guys and save the Good Guys including his wife, but in the Internal World, he’s fighting to save their marriage. And in the end, in part by going through a simple metamorphosis: Away from his proud, pissed off mode with his estranged wife Holly to a more honest appraisal of his role in the couple’s falling out.
It should be noted that Holly’s character has her own mini-arc with that satisfying little bit of business at the end where John introduces her as “my wife, Holly Gennero,” and she corrects him by saying, “Holly McClane,” a payoff to an earlier setup.
Characters do not need to be overly complex in genre movies like Die Hard, however they do need to have enough emotional depth and texture that a reader will resonate and sympathize with them.
What’s your take on the script for Die Hard?
To see all of the posts in the 30 Days of Screenplays series, go here.
This series and use of screenplays is for educational purposes only!
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