This is an original production-issued script for the very first 1988 Bruce Willis action-adventure movie, Die Hard.
With thanks to Russell Buckley
I keep getting asked if I want #AGOODDAYTODIEHARD to fly or bomb. Wishing failure others is malignant. I want the movie to kick ass.
What if this is as good as it gets?
“I went to film school. I did screenwriting school. The best thing for me was reading scripts.” —Stuart Beattie
The screenwriting guide to finding PDF scripts online
Let’s try and keep a revolving list of great sites.
- WSF Screenplay database
- Read. Watch. Write.
- Movie Page
- Horror Lair
- Science Fiction and Fantasy Scripts
- Movie Scripts and Screenplays
- Daily Actor
- Daily Script
- Movie Scripts and Screenplays
- JoBlo’s Movie Scripts
- The Script Source
- Anna Karenina (Focus Features)
- Arbitrage (Lionsgate / Summit / Roadside Attractions)
- Argo (Warner Brothers)
- Armour (Sony Classics)
- Beasts of the Southern Wild (Fox Searchlight)
- The Best Exotic Marigold Hotel (Fox Searchlight)
- Celeste And Jess Forever (Sony Classics)
- Django Unchained (The Weinstein Co.)
- Flight (Paramount Pictures)
- Frankenweenie (Walt Disney Pictures)
- Hitchcock (Fox Searchlight)
- Hyde Park on Hudson (Focus Features)
- Les Miserables (Universal Pictures)
- Life of Pi (Fox 2000)
- Lincoln (Dreamworks)
- Looper (TriStar)
- The Lorax (Universal Pictures)
- The Master (The Weinstein Co.)
- Middle of Nowhere (AFFRM via Rope Of Silicon)
- Moonrise Kingdom (Focus Features)
- ParaNorman (Focus Features)
- The Perks Of Being A Wallflower (Lionsgate / Summit / Roadside Attractions)
- Promised Land (Focus Features)
- Quartet (The Weinstein Co.)
- Rust and Bone (Sony Classics)
- The Sessions (Fox Searchlight)
- Silver Linings Playbook (The Weinstein Co.)
- Smashed (Sony Classics)
- Snow White And the Huntsman (Universal Pictures)
- Ted (Universal Pictures)
- This Is 40 (Universal Pictures)
- Wreck-It-Ralph (Walt Disney Pictures)
- Zero Dark Thirty (Columbia Pictures)
The idea here is that you simply make a request in the comments with your email or PM and someone will send it to you anonymously. Typically this works quite well.
This site will be of plenty of interest to TV fans, but fundamentally it’s for people who want to take their love of TV and transform it into something more practical: actually creating telly that people want to see. These scripts are here because the only way to learn how to write a TV script is to read A LOT of other TV scripts, and there aren’t many places you can do that. So here you can study scripts for existing shows, some of your old favourites, and many that never even made it to air. Figure out what makes an episode work, how to format that spec, why a pilot failed and how to write in four, five or six acts.
The first episode of a TV show is called the pilot episode. Writing a pilot is one of the toughest things a TV scribe can do. In it, you have to introduce your central character and core cast, build enough of your show’s world without overwhelming the audience with backstory, create an episode “template,” and communicate the show’s tone. Oh, and you have to tell a really good story as well, or no-one will come back for episode two!
This is quite a treat. Someone got ahold of some scripts from The Wire and posted them online.
But the real gem is a document dated September 6, 2000 that appears to be David Simon’s pitch to HBO for the show. The document starts with a description of the show.
Simon had the show nailed from the beginning. Near the end of the overview, he says:
But more than an exercise is realism for its own sake, the verisimilitude of The Wire exists to serve something larger. In the first story-arc, the episodes begin what would seem to be the straight-forward, albeit protracted, pursuit of a violent drug crew that controls a high-rise housing project. But within a brief span of time, the officers who undertake the pursuit are forced to acknowledge truths about their department, their role, the drug war and the city as a whole. In the end, the cost to all sides begins to suggest not so much the dogged police pursuit of the bad guys, but rather a Greek tragedy. At the end of thirteen episodes, the reward for the viewer — who has been lured all this way by a well-constructed police show — is not the simple gratification of hearing handcuffs click. Instead, the conclusion is something that Euripides or O’Neill might recognize: an America, at every level at war with itself.
The list of main characters contains a few surprises. McNulty was originally going to be named McCardle, Aaron Barksdale became Avon Barksdale, and the Stringer Bell character changed quite a bit.
STRINGY BELL - black, early forties, he is BARKSDALE’s most trusted lieutenant, supervising virtually every aspect of the organization. He is older than BARKSDALE, and much more direct in his way, but nonetheless he is the No. 2. He has BARKSDALE’s brutal sense of the world but not his polish. BELL is bright, but clearly a child of the projects he now controls.
The final section is entitled “BIBLE” and contains draft outlines of a nine-episode season. I didn’t read it all, but the main story line is there, as are many plot details that made it into the actual first season. (thx, greg)