A Good Day To Kill by Andreas Andersson | Script Revolution

A Good Day To Kill



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A group of people fight for possession of a powerful artifact to save the world as it’s known, only to be hunted down by the man they took it from.

The story is about a man in his late 40s going undercover to save the world from a financial ruin. A box containing a code which could erase everything and send all civilisation back to the stone ages. When the mission goes sideways, the protagonist "JACK" and his team soon find themselves on the run. "The COLONEL" who sent the trio on the mission implores Jack to do the right thing and hand the box over to him. Jack withholds the truth from his wife and daughter to keep them safe but the lies quickly catches up when villain "VINCENT" pays him a home visit. When Jack loses his wife and gets his daughter kidnapped he has no other option but to take them to the location of the box, which they believe he’s hidden near the river. Jack double-crosses them, kills Vincent’s right-hand man, and starts a war with Vincent.

All Accolades & Coverage: 

Table read my screenplay - Semifinalist 2020

Generally speaking, the story has its interesting parts. The highlight of the script though is the well-crafted action sequences, that draw the reader/viewer right into the action. There is gore and ruthlessness that’s expected in this genre, and in that regard, this script does not disappoint. The plot is tight and makes sense, and the emotional connection in the third act rings true.

The conflict is solid and each interaction brings a sense of urgency for the characters. There are some really gory physical conflicts that are expected in the action genre. Emotionally, there is some strife between Jack and Wiktor as well as between his wife, further in the script. There is some internal conflict with Jack as he makes the conscious decisions to lie to the detectives and later his wife, but he shows little remorse for doing so until the consequences of his lies hit home. It works very well in that sense.

The resolution with the final “war” between Jack and Michael against Vincent and all his crew, is doing very well. There’s action for days, plenty of dead bodies, all kinds of different deaths, and plenty of machine guns. As stated earlier, the action sequences are really well done, especially throughout the resolution. Jack and Michael save Holly, take out the villains and return the box to the safety of the Colonel. The “twist” at the end that the Colonel is actually shady, in cahoots with the Senator, both of which lead him to shoot Jack seems arbitrary and like a grasp for the final shock factor.

Given the right leading man, a film such as this could easily be marketed to the masses, as there is a large demographic for action movies involving leads with “special skill sets” saving their family and country. Not to mention the draw of a maniacal, ruthless antagonist.

The emotional involvement really kicks up in the third act when Sarah is killed and in such a barbarous way. The sequence really tugs at the heartstrings as most audiences could connect with losing a loved one. There are a few other scenes where the emotional involvement is solid, but it’s strongest during this section.

The writer has a clear vision for this story and a talent for designing interesting and effective action sequences, paramount for action genre films. Consider for writer.

Script Feedback from an producer:
I love how you were able to tell the story in 88 pages. Fast-paced, immersive. Great work. I was in from page 1 and hooked on the world and journey.

Submitted: September 7, 2020
Last Updated: October 13, 2020

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The Writer: Andreas Andersson

I'm a Swedish screenwriter with nearly 10 years of screenwriting experience. I have experience writing both short and feature-length scripts, as well as television pilots. While I have experience writing across all genres, action-thriller is my expertise. Go to bio
Agent: Looking
Manager: Looking

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