Get Out

This week's Sunday Script Club read is the infamous Get Out by Jordan Peele. Still debating whether or not I should've read this screenplay before watching the film as I think it would've made for such a rewarding, original read (as was the film).

The opening scene where Andre gets knocked out and thrown into the trunk of car by an unknown person in a black knight's helmet immediately indicates that this is no ordinary screenplay; it sets the questions rolling. This then cuts to a seemingly ordinary scenario of a young couple, clearly in love, where the boy is going to meet the girl's parents for the first time. He's African American, she's caucasian. There are several ways in which this scenario could play out and Jordan Peele's masterpiece is the last way you would ever expect this story to unfold.

The story world in which we meet our protagonist (Chris) and fake ally / antagonist (Rose) is the big city, a familiar world. By p.8, our protagonist is leaving his familiar world, and entering completely uncharted territory. It's interesting to have our protagonist enter a new story world, one in which both him, and the audience / reader have already jumped to conclusions about - whether we like it or not. The Armitages welcome Chris with open arms, and this takes the edge off our expectations as we breathe a sigh of relief. They're a normal, decent family. As the audience / reader, we let our guard down.

This screenplay is full of visual clues from the deer, to the photo of Rose's grandfather and the tapping of the spoon on the tea cup - a seemingly innocent action which descends into complete an utter madness. From the hypnosis to the unusual obsession with Chris at the annual gathering, this screenplay takes the reader's / audiences expectations of reality to a whole new level. This is until you're confronted with an actual dose of reality which completely pulls you out of the new story world when Chris rings his ally, Rod, to tell him about his meeting with Logan / Andre. This simple conversation pulls you back into the real world, and leaves you feeling incredibly uncomfortable in the situation our protagonist finds himself.

Rose is a true antagonist in this story - completely unsuspecting; 'You know I can't give you the keys' is the ultimate line, the big reveal of the entire plot. She's in on the whole thing. Except, at this point, and brilliantly so, you have no idea what 'the whole thing' is. You just know shit is going to hit the proverbial fan.

As a side note, for this week's illustrated journal entry, I've decided to take a different approach and play around with composition, and try out simplistic ink on paper. Enjoying developing and playing around with the format of the Sunday Script Club illustrated journal, so who knows what next week's entry will look like!

What did you think of this week's Sunday Script Club read? Join the conversation over on Instagram (@SundayScriptClub). If you're new to Sunday Script Club and would like to get involved in the weekly screenplay reading club, subscribe on the homepage or DM me on Instagram.


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