S T O R Y L A N E S Get Out back Just because you're invited, doesn't mean you're welcome.
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slugline
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EXT. THE SHAW'S HOUSE - FRONT LAWN - NIGHT EXT. SUBURBAN STREET - NIGHT INT. THE SHAW'S HOUSE - DINING ROOM - CONTINUOUS INT. SPORTS CAR - CONTINUOUS |
EXT. BROOKLYN PARK SLOPE - DAWN INT. BROOKLYN LOFT - LIVING ROOM - MORNING INT. BROOKLYN LOFT - BATHROOM - MORNING INT. STARBUCKS COUNTER - MORNING INT. BROOKLYN LOFT - HALLWAY - MORNING |
INT. BROOKLYN LOFT - CHRIS' BEDROOM - DAY
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INT. BROOKLYN LOFT - LIVING ROOM - DAY EXT. BROOKLYN NEIGHBORHOOD STREET - DAY INT. BROOKLYN NEIGHBORHOOD STREET - PARKED CAR - CONTINUOUS EXT. NEW YORK CITY - CONTINUOUS |
EXT. RURAL ROAD - BIRD'S-EYE VIEW - DAY INT. ROSE'S CAR - DAY EXT. LAGUARDIA AIRPORT - OUTSIDE THE TERMINAL - DAY |
EXT. RURAL ROAD - CONTINUOUS
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EXT. UPSTATE NEW YORK ROAD - DAY INT. ROSE'S CAR - CONTINUOUS |
EXT. RURAL ROAD - DAY INT. ROSE'S CAR - AFTERNOON |
EXT. ARMITAGE ESTATE - AFTERNOON
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INT. ARMITAGE LIVING ROOM - DAY
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INT. ARMITAGE UPSTAIRS HALLWAY - DAY INT. ARMITAGE HOUSE - ROSE'S BEDROOM - DAY |
INT. ARMITAGE DOWNSTAIRS HALLWAY - DAY HOUSE - MISSY'S OFFICE - DAY INT. ARMITAGE HOUSE - HALLWAY - DAY INT. ARMITAGE KITCHEN - DAY |
EXT. BACKYARD - LATE AFTERNOON
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EXT. OUTDOOR PATIO - DAY
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INT. ARMITAGE DINING ROOM - LATER/NIGHT
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EXT. THE ESTATE. NIGHT INT. ROSE'S BEDROOM - NIGHT |
INT. ROSE'S BEDROOM - LATER INT. ARMITAGE HALLWAY - NIGHT INT. ARMITAGE DOWNSTAIRS HALLWAY - CONTINUOUS INT. ARMITAGE KITCHEN - CONTINUOUS |
EXT. BACKYARD - CONTINUOUS INT. ARMITAGE KITCHEN - NIGHT |
INT. ARMITAGE DINING ROOM - NIGHT INT. ARMITAGE LIVING ROOM - NIGHT INT. MISSY'S OFFICE - NIGHT FLASHBACK - INT. SMALL APARTMENT - NIGHT FLASHBACK - INT. SMALL APARTMENT KITCHEN - NIGHT INT. DARKNESS |
INT. ROSE'S BEDROOM - DAWN
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EXT. BACKYARD - DAWN
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INT. ROSE'S BEDROOM - DAY
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EXT. FRONT YARD - NOON EXT. BACKYARD - NOON EXT. BACKYARD - LATER |
EXT. BACKYARD - MOMENTS LATER EXT. GAZEBO - DAY |
EXT. BACKYARD - LATER
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INT. ARMITAGE HOUSE - KITCHEN - DAY INT. ARMITAGE LIVING ROOM - DAY |
INT. ARMITAGE UPSTAIRS HALLWAY - DAY INT. ROSE'S BEDROOM - DAY INT. ARMITAGE UPSTAIRS HALLWAY - DAY INT. CHRIS' APARTMENT - DAY INT. ROSE'S ROOM - SAME TIME |
EXT. BACKYARD - AFTERNOON
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INT. LIVING ROOM - AFTERNOON
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INT. LAKESIDE - AFTERNOON EXT. BACK YARD - SAME TIME EXT. LAKESIDE - DUSK |
EXT. LAKESIDE - DUSK
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EXT. FRONT LAWN - DUSK
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INTERCUT INT. ARMITAGE BATHROOM - DUSK INT. CHRIS' APARTMENT - DUSK |
INT. ROSE'S BEDROOM - NIGHT
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INT. FOYER/LIVING ROOM - NIGHT INT. DARKNESS |
INT. AIRPORT - SECURITY CHECK - DAY EXT. AIRPORT - DEPARTURES TERMINAL - DAY INT. CHRIS' LIVING ROOM - NIGHT INT. CHRIS' KITCHEN - LATER |
INT. GAMES ROOM - LATER
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INT. CHRIS' LIVING ROOM - DAWN INT. POLICE STATION - DAY INT. POLICE STATION - MOMENTS LATER |
INT. GAMES ROOM - LATER
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INT. CHRIS' LOFT - DUSK INT. ARMITAGE HOUSE. DINING ROOM - DUSK |
INT. GAMES ROOM INT. HOSPITAL ROOM - DAY (TELEVISION) |
LATER...
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INT. OPERATING ROOM INT. DARK HALLWAY |
INT. KITCHEN - NIGHT INT. DINING ROOM - CONTINUOUS |
INT. FOYER - CONTINUOUS
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EXT. FRONT YARD - NIGHT INT. SPORTS CAR - NIGHT |
INT. MAXIMUM SECURITY PRISON. VISITING ROOM - NIGHT INT. MAXIMUM SECURITY PRISON. HALLWAY - NIGHT |
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scene
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Andre is ambushed and captured on a suburban street while a white family doesn't see what's happening.
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We meet Chris and Rose.
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Chris is nervous about meeting Rose's parents. She claims they are not racist. She wants him to quit smoking.
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They leave in Rose's car with Rose driving.
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Chris calls Rod. Rod is worried about Chris. Chris and Rose hit a deer.
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Chris finds the deer. It's badly hurt but not dead. It is making a weird cry.
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A cop comes to deal with the deer. He asks for Chris's ID. Chris is casual about it, but Rose gets angry.
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Chris is happy that Rose stood up for him.
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They arrive. Chris meets Rose's parents.
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The Armitages have an impressive house.
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Chris and Rose check in with each other. Chris says nice things to Rose about her parents.
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Dean gives Chris the tour of the house. He tells how his father was a runner. Chris meets Georgina the cook.
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Dean explains the presence of the black servants.
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Missy offers to hypnotize Chris to cure his smoking. Georgina is a bit weird: she overpours iced tea. Jeremy gets home.
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Jeremy tells stories about Rose as a child. He makes some veiled racist comments to Chris.
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Chris and Rose have sex.
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Chris wakes in the middle of the night, goes outside for a cigarette.
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Walter runs past Chris in the night. Georgina seems to be staring at him. It's weird.
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Missy gets Chris in her office. He tells her about his mother. She hypnotizes him, sends him to the Sunken Place. |
Chris wakes, shaken. He plugs in his phone.
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Chris has a strange encounter with Walter, who talks and acts like a white man.
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Chris and Rose talk. He tells her he was hypnotized and is cured of smoking. He's freaked out.
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The party starts. Chris has several weird encounters with the other guests. The whites all quiz him in strange ways. The one black guy acts white.
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Dean gives a speech while Chris meets Jim Hudson and has the first relatively normal conversation he's had at the party. Jim is an art dealer and is interested in Chris's photographs and eye, but he is himself blind.
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Chris plays badminton. Party guests watch, but are calculating, studying him.
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Chris comes in the house, goes upstairs. The guests go silent when he leaves, drop the act of partygoers, are fascinated with him.
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Chris goes upstairs, finds that Georgina unplugged his phone. He complains to Rose about it. He's even more freaked. He calls Rod, tells him how freaky things are. Rod says there's some crazy sex slave stuff going on. Georgina comes in, apologizes for unplugging the phone. |
Chris comes out, faces more weird questioning. He takes a picture of Andre/Logan, the black guy at the party. Logan comes to Chris and intensely tells him "Get Out."
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Dean and Missy explain to Chris that Logan had a seizure. Logan apologizes. Chris is truly freaked now.
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Chris and Rose talk. He says that wasn't a seizure. Chris wants to leave. Rose distracts him by saying she may be pregnant. Rose doesn't want to go. Meanwhile, the guests hold a silent auction, apparently for Chris. Jim wins the auction. |
Chris tells Rose that he feels guilt for his mother's death. Rose agrees to leave with Chris.
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Chris and Rose return to the house. The party is ending.
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Chris texts the picture of Logan to Rod. Rod recognizes him as Andre. Chris and Rod know him. Chris runs out of batteries.
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Chris packs. He finds old pictures of Rose, some of them of her with black guys. But she had told him that she never dated a black guy before. Uh oh!
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Chris goes to leave, but the family won't let him. Rose is completely unmasked as not on his side. Dean gives a weird speech. Missy hypnotizes Chris. Jeremy and Dean carry Chris off somewhere.
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Rod worries about Chris. He finds out that Andre has gone missing. All of his paranoia fears are proving true!
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Chris wakes up, tired down to a chair in the games room.
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Rod goes to the police to report Chris is missing and what he suspects. The police laugh at him.
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More on Chris, he's scared.
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Rod tries to call Chris's phone again. Rose answers and scares him off.
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Chris is still tied to the chair. Jim Hudson appears on the TV and tells Chris that his brain will be transplanted into Chris, but Chris will still be there in part in the sunken place.
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Still in the game room, Chris is put to sleep through hypnosis. Rose comes in and unties him. But he's not unconscious, and he strangles her into unconsciousness, revealing that he's stuffed cotton into his ears and so wasn't hypnotized.
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Dean prepares Jim Hudson for the operation, sawing off the top of his skull. Meanwhile, Chris fights Jeremy in the hallway, knocks him out. And when Dean comes out, Chris impales him on a deer's head. |
Chris comes up, covered in blood. He kills Missy.
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Jeremy attacks Chris. Chris defeats him.
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Chris drives off in Jeremy's car. He hits Georgina, can't just leave her, puts her in the car. But she attacks him, crashes the car. Jeremy attacks one more time, as does Walter, now revealed to be the Armitage grandfather. Chris flashes Walter, which brings back the guy who lived in the body. He shoots Jeremy and then himself. Police arrive and arrest Chris. |
Rod visits Chris in prison. Chris is content with having defeated the conspiracy, even if he will be spending his life in prison.
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Joe's analysis
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Teaser
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Begin act one Sequence: Meet Chris and Rose |
Sequence: the deer
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Tonal inciting incident.
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Sequence: meet the Armitages
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Begin Act Two: things in the night are strange Sequence: the hypnotism |
Sequence: the next day
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Sequence: the start of the party
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Midpoint: the Get Out moment
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Act Three: things go bad Sequence: the party, but things are definitely weird |
Sequence: the plot revealed
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Two big intercut sequences: Rod is worried, culminating with him being freaked out by his call with Rose. Chris is caught, culminating with the revelation of the plot when Jim talks to him. |
Act Four: escape!
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3-act structure
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Inciting incident
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Inciting incident for tone - the deer doesn't start the story going, but it moves us into horror territory.
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Plot Point 1: Coommence Act Two
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Midpoint: the Get Out moment
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Plot Point 2: Commence Act Three
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Climax: Rose is killed.
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Save the Cat Beats
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There is no special opening image that establishes where Chris is at the beginning. And there is no particular statement of theme. |
Begin Set-Up (p1)
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Catalyst (p12) Debate (p12-25). Chris's concern over meeting Rose's parents, and his warning her that it might be weird, acts as the Debate. |
End Set-Up (p10)
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Catalyst (p12) - the deer doesn't start the story going, but it sets the tone.
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Break into Two (p25) Begin Fun and Games (p30-55) |
B Story (p30) - B story is Chris's history with his mother.
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Midpoint (p55)
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Begin Bad Guys Close In (p55-75)
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End Bad Guys Close in (p55-75)
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All is Lost (p75) Begin Dark Night of the Soul (p75-85) |
End of Dark Night of the Soul (p75-85)
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Break into Three (85) Begin Finale (p85-110) |
Final Image (p110) - in the actual film, it's seeing the car drive off with Rod and Chris inside.
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Final Image (p110), such as it is, is Chris in prison in the script.
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Hero's Journey
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The ordinary world. Establishment of the hero's status quo. The Departure begins. |
The call to adventure - kind of. The invite to the house is the call. The hero is called on to do something. Refusal of the call. Chris's reservations about meeting the parents are the refusal. |
Crossing the First Threshold. The Hero goes on the adventure. Start the Adventure. Interesting that this isn't an act break. |
Meeting the Mentor. Rod is the closest thing to a mentor here. The Hero needs help from someone. |
Tests, Allies, Enemies. The Hero faces challenges, meets allies. |
Approach to the Inmost Cave. The Hero gets closer to his goal. In this case, his goal is to get out. |
Ordeal. The Hero faces his biggest test of all. |
Reward. The Hero sees the light at the end of the tunnel. |
The Road Back. The challenge to get back is harder than it seems. Resurrection: the Hero meets the final test. In the film, the Return: leaving with Rod is the prize. |
In the script, the Return. The Hero returns with the prize. Chris's prize in the script is survival and knowing he destroyed the Armitage plot. It's also prison, but that's just how things work sometimes. |
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SP: Andre/Logan
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Andre's arc starts when he is ambushed on the street.
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We might recognize Andre here. But it's clearly not the same character. This is the first strong hint of what's happening.
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Andre takes temporary control of his body, urges Chris to Get Out. A decent guy - he's trying to do the right thing in the moment that he has.
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But Andre is once again suppressed.
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Chris sends the photo of Logan/Andre to Rod. Rod recognizes him.
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Rod finds out that Andre went missing.
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SP: Rod's suspicions
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We meet Rod. He's worried about Chris.
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Rod is still suspicious, proposes his sex slave theory.
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Chris sends the photo of Logan/Andre to Rod. Rod recognizes him.
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Rod takes active steps to investigate what's happening with Chris.
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Rod reports Chris's disappearance to the police but gets nowhere.
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Rod is still following up, but Rose drives him off.
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In the film's ending, but not the script, Rod appears and rescues Chris. It's the culmination of Rod's arc.
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In the script but not the movie, the culmination of Rod's arc is far less dramatic.
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SP: Chris's mom
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Chris can't just ignore the deer. We don't know it, but this is the first sign of his trauma about his mother.
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We hear the first part of the story of Chris's mom, how she died.
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We hear the rest of the story of Chris's mom, how Chris fees guilty because he did nothing when she didn't come home. And she was still alive - if he had called for help, he might have saved her.
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Chris can't just leave Georgina, as much as he would like to. It's a flashback to his mother - he can't do a hit-and-run.
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Code switching
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In talking with Rod, Chris engages in code-switching: his word choices are definitely different than when he talks with Rose and other whites.
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Chris talks to Walter, engaging in some code-switching. But Walter talks like a white man. It's strange.
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The encounter with Logan/Andre is another example of code-switching. Chris approaches him trying to talk in black vernacular, but Logan responds like an old white guy. It's weird.
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In the talk with Georgina, she sure sounds white. Chris senses something here.
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For a moment, we see Andre. And he feels like a different guy than Logan, though there's not time for a long conversation. (Though he does use vulgarity, which we wouldn't expect from Logan.)
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Again, when Logan talks, he sounds like a white guy.
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From script to screen
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This was greatly simplified in the film. The white family was dropped entirely and all was done from Andre's POV.
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This scene is not in the film.
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In the film, this becomes a scene where they talk and Rose acknowledges her family's weird racism.
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This scene is not in the film.
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The pregnancy thing is not in the film. The auction is done differently in the film, with bingo cards. It's effective. |
This is not in the film.
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In the film, Jeremy comes to get Chris, not Rose. This fight is with Jeremy.
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In the film, this is Rose, not Jeremy. It's an improvement, because now Rose is the final obstacle who must be killed. In the film, there's another scene in which we see Rose planning to find another black guy and bring him home. |
This scene is not in the film. Instead, in the previous scene, the police don't arrive - it's Rod in a TSA car with a siren. Rod and Chris drive off into the sunset.
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deaders
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Andre isn't quite dead, but for all intents and purposes he is.
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Rose in the script, not in the film.
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Dean. Jim Hudson, who presumably dies in the fire. (After all, he's in a fire with his skull open and no one to rescue him.) |
Missy
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Jeremy in the film.
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Georgina. Walter. Jeremy in the script. Rose in the film. |