I know I’ve been obsessing over Green Book lately. I wrote my thoughts here on Green Book winning Best Picture, but it should also be noted that it won Best Original Screenplay, and I thought that a brief breakdown of the script was in order. What was special about this script? What did it do that worked? What did it do that was unique? What did it do that separated it from the other scripts that were also nominated?
One thing the screenplay for Green Book did that was special was that it took risks. Anyone who follows this blog knows that I am a stickler for story structure, especially for unknown writers. However, a good writer can mess around with story structure so that it doesn’t necessarily hit all of the beats at exactly the expected moments and still end up with a terrific screenplay. Taking it a step further, most people who read this blog regularly will know that I advocate for 4-Act structure rather than the more traditional 3-Act structure that most experts espouse. Green Book is actually very close to only being three acts. I say, “very close” because it does have an act 2B, although it’s very short. I can confidently say this because Green Book follows a clear Hero’s Journey outline, which almost by default, makes it a 4-act story.
That’s the beauty of following the Hero’s Journey model in your writing. As Christopher Vogler explains in his book, The Writer’s Journey, the Hero’s Journey is flexible and allows you to play with the structure. You can change the order of the stages of the Journey, as they did in Green Book, and still have a tight and compelling screenplay. You can have some stages last longer than usual and make others very short, again as they did in Green Book, and still have a structurally sound story with conflict and an effective dramatic arc.
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- Green Book is a 2018 American biographicalcomedy-drama film directed by Peter Farrelly. Set in 1962, the film is inspired by the true story of a tour of the Deep South by African American classical and jazz pianist Don Shirley (Mahershala Ali) and Italian AmericanbouncerFrank 'Tony Lip' Vallelonga (Viggo Mortensen) who served as Shirley's driver and bodyguard.
Here is an outline of the stages of the Hero’s Journey and where they fit in to the plot of Green Book.
Ordinary World: Tony “Lip” Vallelonga (Viggo Mortenson) is a nightclub bouncer at New York City’s Copacabana in the early 1960’s. We learn that the club is going to be closed for several weeks and he’s going to have a hard time getting by. We see he is respected, tough, and resourceful (stealing then returning a customer’s hat for profit and praise, covering a fire hydrant with a trash can when he parks in front of it, and winning a hot dog eating contest). We also see that he’s racist when he throws away drinking glasses after his wife, Delores (Linda Caellini), offered water to two African-American plumbers who fixed his kitchen sink.
Call to Adventure: He’s offered the job by Dr. Shirley (Mahershala Ali) to be his driver as Dr. Shirley’s Trio plays a series of musical engagements in the Midwest and the Deep South.
Refusal of the Call: Tony turns him down when he’s told he needs to do laundry, shine shoes, be a personal valet, etc. He tells Dr. Shirley that he’s not a butler. Then he turns down another job as muscle for a mobster.
Meeting the Mentor: There are two examples that meet the classic definition. The first is when Tony meets the record label execs who pay him the money and give him the Green Book, that lists the hotels and restaurants that Dr. Shirley can stay and eat at when travelling through the South. This is a very archetypal moment, as they serve the classic mentor role of giving the Hero tools that he’ll need on his journey. Then Tony meets Dr. Shirley’s backup musicians, Oleg and George. Oleg will prove to be more of a Mentor, although his mentoring duties are limited but important. Oleg ends up being an archetypal Shapeshifter, as well, as he not only acts as a mentor, but spends scenes both as an enemy and an ally.
Crossing the First Threshold: It’s as simple as when they get in the car and start driving. That is the point where the adventure begins and we cross from Act I to Act II.
Tests, Allies and Enemies: This stage sets the rules and shows the reality of the two men not understanding each other. Tony fails several tests at the first, like during Dr. Shirley’s first concert when he plays craps with other chauffeurs. He seems to fail another test when he steals the jade stone from the gift shop, but ends up winning when he keeps the rock and it ends up being an archetypal token. He passes a test when he makes the custodian in the Indiana concert hall get the right piano for the second concert. He passes yet another test when they share KFC, but fails when he throws his cup out of the car window and Dr. Shirley makes him back up to pick it up. At this point, the two of them start to connect. Then, there is the first night in Kentucky when Tony rescues him from rednecks in a bar. Each test becomes more difficult and raises the stakes. This is especially true as they move through the South, starting with the first concert in Raleigh, NC when Dr. Shirley isn’t allowed to use the bathroom in the house, through Dr. Shirley helping Tony write the letters, Dr. Shirley not being allowed to buy the suit, and culminating with Tony bailing Dr. Shirley out of trouble at the YMCA only to build Dr. Shirley’s resentment.
Approach: They’re pulled over by racist cops on a rainy night and arrested.
Supreme Ordeal: They’re sitting in jail, and Dr. Shirley chastises Tony for resorting to violence and not maintaining his dignity. Dr. Shirley calls none other than Bobby Kennedy to get them out of their current situation, and then loses his cool on Tony when Tony accuses him of not being “black” enough.
Reward: Tony writes his own letter. Dr. Shirley stands up for himself in the restaurant in Birmingham, which was the opposite of the capitulation with the bathroom in North Carolona. Finally, he plays “his” music, which happens to be Chopin, to an unlikely yet adoring crowd.
The Road Back: A literal road back as Dr. Shirley drives the car so Tony can make it home in time for Christmas Eve.
Resurrection: Tony wakes up in the car and returns to his family a changed man, no longer racist and with a broader mind of the world around him.
Return with the Elixir: Dr. Shirley shows up at Tony’s apartment in Christmas Eve, and a bridge has been built.
Not only is there a very effective Hero’s Journey that allowed the writers Nick Vallelonga, Brian Curie and Peter Farrely to play with the structure, but there is some sensational character work going on in this screenplay. One of the criticisms of the film was that Dr. Shirley is nothing more than a trope to allow Tony to overcome his racism. I disagree with that criticism for a couple of reasons. First of all, how the hell else is Tony going to overcome his racism? If you are a racist, the way to overcome racism is to be exposed to people of other races so that you can understand their humanity, get to know them as human beings, and develop some sort of empathy for who they are and where they come from. That’s what happens in this film. Tony wasn’t going to receive this enlightenment all on his own. He needed to go on this journey with Dr. Shirley in order to achieve this character growth, and the writers did a good job of at first giving Tony financial motivation to keep Dr. Shirley out of trouble because that’s a realistic notion. But then as the story went on, Tony and Dr. Shirley formed an emotional bond that allowed Tony to see Dr. Shirley not as a black man, but as a man.
For his part, Dr. Shirley also goes through a dynamic character ark. He starts the film with the outward appearance of a confident and aloof man. Throughout the film we get glimpses of his vulnerability which gives him depth as a character. We see him as a real person with real emotions and real problems beyond his race in a bigoted world. He is truly alone and doesn’t feel a connection to anyone because of his unique circumstances. Through Tony, Dr. Shirley discovers that he can fit into all of the worlds that he either rejected or thought had rejected him.
Overall, there is a lot of great technical screenwriting happening in Green Book. It is a well-structured story and has characters that change and grow in realistic and emotional ways. If you are an aspiring writer, this is a script you should study, because it demonstrates both dramatic storytelling and effective character development. This is a script worth studying and was worthy of the Oscar it won.
The Abridged Script
written by
Movie:
July 3, 2019
The Editing Room
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FADE IN:
INT. HOME OF VIGGO MORTENSEN
VIGGO MORTENSEN talks with his AGENT.
VIGGO MORTENSEN
Well, yes, I'd be happy to accept, but.. I'm a little bit confused. Why did they go with me?
(pause)
No, no, I'm not selling myself short at all. It's just that there are many fine Italian-American actors who could fill the role brilliantly. Off the top of my head, I can name four Sopranos cast members who look more like Tony Vallelonga.
(pause)
Oh. Yeah, I see why they wouldn't want to get involved.
(pause)
No, it's fine. Guaranteed awards bait, right? So who's going to play Don Shirley?
(pause)
They're going to put WHAT on Keanu's face?!
INT. MANY CAREFUL EXPLANATIONS LATER
VIGGO attends an INTERVIEW for a JOB working for famed composer MAHERSHALA ALI.
MAHERSHALA ALI
Mr. Mortensen, I am told you're rather good at violence. I generally oppose violence, but since my concert tour will take me through the Deep South, it may prove useful. If not, you will serve as my driver and valet, as well as my student of etiquette and correspondence. Your wages will be $100 a week, which today would be worth $837.44, or enough for less than a quarter of your New York City rent.
VIGGO MORTENSEN
Well, dat sounds purdy good, but I don't like de idea of takin' eat-a-cat lessons.
MAHERSHALA ALI
Perhaps I didn't make myself clear. You will be my student of etiquette, correspondence, AND how to say and do the right things while black people are listening.
VIGGO MORTENSEN
Oh. Okay. I prob'ly need dose and don't even know it.
(grins at camera)
EXT. THE ROAD
VIGGO drives while MAHERSHALA sits silently.
VIGGO MORTENSEN
So I know yous guys have a problem wit sittin' in the back an' stuff, but dis ain't so bad, right?
(laughs)
MAHERSHALA ALI
(sighs)
Not funny.
VIGGO MORTENSEN
Okay den. So a black, an Italian, and a Jew walk into a bar--
MAHERSHALA ALI
Not funny.
VIGGO MORTENSEN
..You, uh, wanna play I Spy?
MAHERSHALA ALI
No.
VIGGO MORTENSEN
Well, we both like fried chicken, right? We can bond ovuh it or somethin'!
MAHERSHALA ALI
But I don't want fried chicken.
VIGGO MORTENSEN
Whaddya mean, ya don't want fried chicken? I bet I could find some watuhmelon to go wit it--
MAHERSHALA ALI
How about I shove your gob full of herring? You're Danish, right? You must LOOOOVE herring. But I. DO. NOT. WANT. FRIED. CHICKEN.
JESS M.
Please stop saying 'fried chicken.'
(picks some up after the movie)
VIGGO MORTENSEN
Well, I'm gonna buy some KFC from back when it didn't taste like crispy fried shoe! And ya gonna eat it because if I need ta learn how to talk to black people, YOUS need ta learn how ta stop bein' so ungrateful an' uppity!
(grins at camera)
MAHERSHALA ALI
Maybe you're right. I'll eat one piece of chicken and stop trying to act white for a while.
(grins at camera)
(realizes this was a terrible, terrible mistake)
They go on to the CONCERT, where MAHERSHALA plays CLASSICAL COMPOSITIONS that really ought to get more AIRPLAY, I mean, seriously, KING FM, we can only take so much CARMEN.
VIGGO MORTENSEN
Wow, you're really good. Can we talk about how ya got so good?
MAHERSHALA ALI
Maybe later.
EXT. KENTUCKY
VIGGO drives up to a COLORED-ONLY HOTEL.
MAHERSHALA ALI
I have to stay at this shitty hotel with other black people. You stay at the less-shitty hotel down the road with the white people. This is how America worked then, for real. That's why they started publishing the Green Book, so we wouldn't have to choose between being kicked out of a rest stop or carrying a bucket in the car.
VIGGO MORTENSEN
Man, dat's awful. Good ting racism is ovuh, amirite?
(grins at camera)
MAHERSHALA ALI
Why, yes. A very good thing.
(grimaces at camera)
MAHERSHALA kills a bottle of SCOTCH and then goes to a BAR, where he is accosted by some REDNECKS. VIGGO arrives in the NICK OF TIME.
VIGGO MORTENSEN
Hey! No one touches duh Magical Negro witout gettin' past DIS White Man's Burden!
REDNECKS
Oh, yeah? What 'er YOU gonna do about it, Yankee? I bet you don't even got a gun.
VIGGO MORTENSEN
Yeah, I do.
REDNECKS
EEP!
(run away)
MAHERSHALA ALI
(drunk)
Thought I shaid no violensh. Frickin' Neanderthal.
VIGGO MORTENSEN
I know ya did. And I'm sorry I run on my baser instincts. But at least my intentions are good.
(grins at camera)
So, uh, ain't we gonna talk about ya implied drinkin' problem?
MAHERSHALA ALI
My wha?
EXT. THE REST OF THE DEEP SOUTH
VIGGO and MAHERSHALA arrive at TOM VIRTUE's MANSION.
TOM VIRTUE
Well, I am just THRILLED to have you perform for us, Mr. Ali. I've written up a few of our favorites that we'd like to have you play, if you can.
MAHERSHALA ALI
(reads list)
'You Light Up My Life'? 'Don't Stop Believin'? The theme from Friends?
TOM VIRTUE
Why, yes. The Missus thought these would make our guests feel better about you dining at our table instead of eating from a trough out back.
VIGGO MORTENSEN
Well, yous can take dose search results for 'whitest songs ever' and ram--
MAHERSHALA ALI
(steadies him)
Arguing won't get us anywhere.
In the NEXT TOWN, two REDNECK COPS catch MAHERSHALA with ANOTHER GUY. VIGGO arrives.
REDNECK COPS #1 AND #2
Now, see here, boy, you can't come 'round here bein' black AND gay. We're hardworkin' officers of the law and we can only abuse you for one thing at a time.
VIGGO MORTENSEN
(flashes a $20)
Listen, guys, my ol' pal Mistah Jackson tinks we can settle dis.
REDNECK COPS #1 AND #2
Well, Mistah Jackson was NEVAH wrong!
They take the $20 and let MAHERSHALA go.
MAHERSHALA ALI
They humiliated me and you're BUYING THEM OFF?!
VIGGO MORTENSEN
(steadies him)
Arguin' won't get us nowhere.
In the NEXT TOWN, two more REDNECK COPS stop their car.
REDNECK COP #3
We can't have the black boy in town past sundown, so we're gonna have to take him with us.
VIGGO MORTENSEN
You mean.. back into town? Besides, we're on duh highway. Dis ain't 'in town.' You Southerners don't make no sense.
REDNECK COP #3
Now don't you question our traditions. The South is all about two things: racism and football.
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VIGGO MORTENSEN
DAT AIN'T FOOTBALL!!!
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(punches him)
He and MAHERSHALA both get arrested.
MAHERSHALA ALI
Viggo, what did I tell you about arguing? We wouldn't be here if you had been more polite and deferential to the cops!
(grins at camera)
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Now, listen, gentlemen, I'm sure we can--
VIGGO MORTENSEN
Hey! What did I tell YOU about arguin'? Just drop duh reasoned argument and do what ya need to do to get out of a jam!
(grins at camera)
MAHERSHALA ALI
Fine! I'll use my connections with rich white people to get out of here, but I'll feel really bad about it!
(grins at camera)
VIGGO MORTENSEN
And I'll argue wit YOU over dat because I don't have your class privilege, which is exactly duh same as white privilege!
(grins at camera)
They both fall silent.
MAHERSHALA ALI
I don't remember what our main point is.
VIGGO MORTENSEN
Me neithuh. So, how's about we address duh multifaceted struggle of a black who's also a gay--
MAHERSHALA ALI
Let's not and say we did. I would rather discuss your inability to write a decent letter to your loving and supportive wife.
VIGGO MORTENSEN
Sounds good, friend! Yup, you's my friend now, even doh you're a black. Ain't dat right?
MAHERSHALA ALI
(long, long sigh)
Yes.
VIGGO MORTENSEN
HEAR DAT?! I GOT A BLACK FRIEND!
He does a VICTORY DANCE while MAHERSHALA wonders where he wrote down AVA DUVERNAY and JORDAN PEELE's EMAIL ADDRESSES.
INT. ALABAMA
VIGGO and MAHERSHALA arrive at the LAST VENUE.
MAITRE D'
Oh, I am dreadfully sorry, Mr. Ali, but we're totally racist.
MAHERSHALA ALI
Fuck you.
ENTIRE DINING ROOM
(gasp!)
(clutch pearls!)
(faint into gross gelatin-based early 60s meals!)
MAHERSHALA ALI
Yeah, that's right. I'm standing up for myself now. You'd better get used to it because there's going to be a lot more of this in the next few years, when we start demanding equal rights in full force. And movies about that will DESERVE Best Picture.
(storms out) Bubblegum crisis tokyo 2040 torrent.
VIGGO MORTENSEN
(follows him)
Dat was AWESOME! But my contract said I'd get no pay unless you played every gig. So next time you stand up for yaself, could ya make it more convenient fuh me?
MAHERSHALA ALI
(rubs temples)
You'll always have Moonlight. You'll always have Moonlight.
(gradually calms down)
I'm sorry, Viggo. Let me make it up to you by driving part of the way home so you don't miss Christmas dinner. You know, the thing the audience is supposed to worry about.
VIGGO MORTENSEN
Tanks, buddy! Ya know, you're really good at balancin' dignity and frustration. I bet ya get Best Supportin' Actor.
MAHERSHALA ALI
SUPPORTING actor?!?!?!?!?!?!
INT. VIGGO'S APARTMENT
VIGGO and his FAMILY enjoy the WARMTH and TOGETHERNESS that MAHERSHALA lacks, which is why he shows up.
ENTIRE DINING ROOM
(gasp!)
(clutch pearls!)
(faint into lasagna!)
VIGGO MORTENSEN
It's cool. He ain't here to steal our TV. Dis is duh black friend I was tellin' ya so much about.
LINDA CARDELLINI
Oh, Viggo, a black friend! Just what I suddenly realized I've always wanted!
FRANK VALLELONGA
Can I have a black friend too? My uncle had a black friend and it was the coolest!
VIGGO MORTENSEN
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Hey, it's Christmas! We can ALL have a black friend!
MAHERSHALA manages to keep a SMILE on his face while the WHITE PEOPLE pass around their SHINY BLACK TOY.
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END