Green Card

Synopsis: George Faure is a Frenchman who has been offered a job in the U.S. But in order to get the job he must obtain a work permit - green card, and the easiest way is to marry an American. Bronte Parrish is a New Yorker who is a keen horticulturist and just found the perfect flat with its own greenhouse. Unfortunately the flat is for married couples only. A marriage of convenience seems the ideal solution to both problems. To convince the immigration officers they are married for love, they must move in with each other. As the mismatched couple attempt to cope with life together, they start to fall in love.
Genre: Comedy, Drama, Romance
Director(s): Peter Weir
Production: Touchstone Pictures
  Nominated for 1 Oscar. Another 3 wins & 3 nominations.
 
IMDB:
6.2
Metacritic:
58
Rotten Tomatoes:
56%
PG-13
Year:
1990
103 min
569 Views


- How much?

- $ 1.50.

Miss? Miss, your change.

If you wish to find

the express train...

try the B.M. T.

Spare a little change?

Anybody, spare a little change?

Lady?

A little change?

I need some lunch.

- Watch where you're going there, man.

- Anybody?

... corrupt society

I know the time will be here again

When the taxes are taken

You know it will lead to the end

- Look at you.

- Hi, Anton. Oh.

- I've never seen you

all dressed up like this.

- Well, do I look the part?

Sure. Look at me.

Oh.

- Coffee?

- Oh. No. Yes! Oh, I'm so nervous.

- Well, you're supposed to be nervous

on your wedding day.

- Oh, right, right.

- You really look absolutely gorgeous.

- Oh, thanks. I borrowed the dress.

- It's a marvellous thing

you're doing, Bront. Really.

- Oh, Anton, please, no speeches.

- I think you and Georges will...

- No speeches.

- Okay, no speeches.

Hey, hey, Georges!

Coming?

More! More!

- Nice to meet you.

- You too.

- You were very good.

- So were you.

Oh, here's Anton.

That's a copy for you, Bront.

- I'll never forget Afrika.

- Africa?

Yes, where we met.

Oh, the coffee shop. Right.

Okay, so, uh, good luck with your life.

Et merci, Anton.

- And good luck with your composing.

- With what?

Your music.

Oh, yes. Uh, right. Yes. Okay.

- So what happens next?

- That's it.

You don't even have to see him again.

- You should take a look at that.

- Mm-hmm. Mm-hmm.

That could potentially be a problem.

Mm-hmm. Mm-hmm.

Africa?

Yes. That's where we met.

And he's there now again.

Uh, I wish he were here...

but he's not.

He'd love the apartment, though.

He travels a great deal.

But he's the quiet type.

We both are, really.

What's he doing there?

He's a composer.

- African music.

- Not drums?

We couldn't have someone

who played the drums here.

Oh, no. No. He studies their music.

He's an academic.

- He, himself, is not African?

- He's French.

- Oh, oh, oh, French. Oh.

- Oh.

What is this? "Green Guerillas."

Not some sort of an army, is it?

It's a volunteer garden group,

Mrs Bird.

They do very good work

amongst the poor.

And you'll notice that Mrs Faur

is also with our city parks department.

Uh, we did have problems

with a recent tenant...

a single gentleman, uh, who, uh,

neglected the responsibilities...

associated with 12-F.

Mmm, that's why the board feels...

that a young married couple

would be more suitable.

Well, I think it's the fact that

Mrs Faur is a horticulturist

that's very much in her favour.

- Yes, but it is highly irregular to give

our approval without meeting Mr Faur.

- I like the couple from the bank.

- Not the one with the dog.

- Look, I'm very aware of the situation.

It's just that...

well, I could bring the garden back

to the way the late professor had it.

I don't want to get too technical, but

the moracus syconia needs thinning...

and the crinums and the zamias

are sadly neglected.

The chamaedorea's root bound,

and special care must be taken...

for the poor cyathaceae dicksonia.

Not to mention the cordyline

or the heliconia.

And there's work

nurturing the aspidistra...

begonias, the bromeliads.

Oh!

Yo, baby!

Yo, Bront!

The city fathers give

their blessing to the project.

- All right!

- Yeah. Talk about the 11 th hour, huh?

- I've got some good news.

- Oh, what's that?

How about 3,000 square feet

of quality topsoil?

- You're kidding!

- No. Get this.

Burger King does this... this big

press hype over at the Sheraton Centre.

- Uh-huh.

- They recreate Texas or something.

- Hey.

A giant burger city

in the middle of Texas.

Anyway, they don't know

what they're gonna do with the soil

when they're all through.

Dave says, "I know just the guy

who'll take it off your hands." Me.

- Uh-huh.

- Hey, Harry, how you doin', man?

Look at this.

We're officially approved.

Hey, let's go!

All right!

Burger King!

- Burger King!

- Let's hear it for Phil!

Who can use a box of periwinkles?

Here you go. Tomatoes.

All right, yea!

Italian would be great,

but ask Bront and Phil.

- Yeah, 'cause I'm starved.

- I am too.

- Hey, Bront, are you hungry? Wanna

get something to eat? How about you?

- Yeah? Oh, yeah. Yeah.

- Yeah.

- The four of us get something to eat?

- Ten minutes? Let's go.

- The All Nations okay?

- Yeah.

- Hey. Ah.

- Mmm.

- A little pasta.

- Like maybe we could think of certain

plants that we could put in there.

- Yeah.

- Can we order?

- I'm not your waiter.

- Great. So who is our waiter?

- Yeah.

- Well, we'll leave it up to you.

- Hey, man, are you our waiter?

- No, sir. Georges, les cartes.

- Do you want an antipasto?

- Let's get out of here. It's awful.

I don't think we'll find anyplace else

open this time of night.

Look at this. Look at this time.

We have been sitting here a long time.

- You have chosen?

- Uh...

- Somebody else go ahead.

Uh, what are your specials tonight?

Uh, from Switzerland we have, um,

calves' liver with our special sauce...

and, uh, from old England,

we have roast beef.

- I don't eat meat.

- Why not?

Pardon me?

If you don't eat meat,

we have, uh, fish.

No, I don't eat fish either.

I'm a vegetarian.

- Ah.

- Do you have a vegetarian special?

Of course.

All Nations vegetables.

- Good. I'll have that,

but no oil or salt.

- No salt for you. Okay.

- Uh, I think I'll take the fish.

- Me too.

Fish. Two for the fish. Okay.

And, uh...

for mademoiselle?

Or is it madame?

It's, uh, just here on the right.

Just right here.

- Let me come up?

- Mmm, no.

What is it? A girls' dorm?

I've never even seen your apartment.

What's with all the secrecy?

- What secrecy?

- Well, most girls I've known...

- have tried to crowd me, except you.

- Mm.

I could do with

a little crowding from you.

You coming or what?

- Okay.

- Okay.

Evening, Mrs Faur.

- Hello, Oscar.

- There's some mail here...

mostly addressed to Miss Parrish.

I guess some folks

don't know you're married.

- I still go by the name Parrish.

- Women's lib, huh?

- Yes, I guess so.

- Nothing from Africa.

- Oh.

- I already checked.

- I guess he's still on safari, huh?

- Something like that.

- Good night, Mrs Faur.

- Good night, Oscar.

- Hello?

- Mrs Faur?

- Yes?

- My name is Gorsky.

I'm with the investigations

department of the I.N.S.

- The what?

- Immigration.

My partner and I

are down in the lobby.

We wondered if we might have a word

with you, uh, and, uh, your husband.

Oh.

- What is it you want to know?

- I just want to speak

with Georges Faur.

- He doesn't work here any more.

- What?

He was rude to a customer.

We don't stand for that.

- Excuse me.

- No, please. I must find him.

- Do you know where he lives?

- Georges Faur is trouble.

You would do best to avoid him.

Now, if you'll excuse me, young lady.

I have customers waiting.

You're a friend of Georges?

Yo. Yo! Where are you going?

- I'm to see Mrs Faur.

- Oh?

- And who are you?

- Mr Faur.

- Mr Faur?

- Yes.

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Peter Weir

Peter Lindsay Weir, AM ( WEER; born 21 August 1944) is an Australian film director. He was a leading figure in the Australian New Wave cinema movement (1970–1990), with films such as the mystery drama Picnic at Hanging Rock (1975), the supernatural thriller The Last Wave (1977) and the historical drama Gallipoli (1981). The climax of Weir's early career was the $6 million multi-national production The Year of Living Dangerously (1983). After the success of The Year of Living Dangerously, Weir directed a diverse group of American and international films covering most genres—many of them major box office hits—including Academy Award-nominated films such as the thriller Witness (1985), the drama Dead Poets Society (1989), the romantic comedy Green Card (1990), the social science fiction comedy-drama The Truman Show (1998) and the epic historical drama Master and Commander: The Far Side of the World (2003). For his work on these five films, Weir personally accrued six Academy Award nominations as either a director, writer or producer. Since 2003, Weir's productivity has sharply declined, having directed only one subsequent feature, the critically successful but financial flop The Way Back (2010). more…

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    "Green Card" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/green_card_9316>.

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