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Correction Paroles
Boy Erased (Script)
par
Troye Sivan
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We hold on a big slice of MEMPHIS BLUE SKY. The only sound is the out of focus American flag whipped by wind in the distance. Soon after we hear, but don't see - A car pull up on the gravelled asphalt and - The beeping of the door as it opens. From it spills the radio sounding out the ‘90s country hit - ‘Check Yes or No’ by George Strait. GEORGE STRAIT I think this is how love goes. Check yes or no. And - a fresh faced young man, 18, stands up filling the frame, looking out into the distance. This is JARED EAMONS. He wears an ultra crisp white shirt buttoned to the neck with no tie. He is slim and wears his hair cropped short. The camera moves slightly to take in an out of focus church cross atop a basic baptist steeple ahead of him. All the while - that distant American flag, flapping in the breeze, flanks him from behind. A second door opens O.S., spilling out that music again - GEORGE STRAIT (CONT'D) Now we're grown up, and she’s my wife. Still like two kids and stars in our eyes. - and now - Jared's mother NANCY steps into frame. She is made up to the nines: bottle blonde voluminous hair, hoop earrings and thick mascara. Underneath her heavy make-up we can see concern. She slides on Jackie O sunglasses and looks out toward the steeple as Jared turns toward the flag. They both seem lost. Nancy hides her concern behind the shades, tries a bright smile and, out comes her chirpy southern voice - NANCY Are you ready, honey? Jared looks away for a beat, then turns with a convincing smile and starts walking. They leave frame. INT. L.I.A. FOYER - CONTINUOUS L.I.A. is an acronym for ‘Love In Action' -- But we should not know that yet. There is no signage. Grey-blue carpet covers an expansive floor space. Stark white walls with no hangings or decorations. Some empty basic chairs lining one section of wall. Heavy doors lead off to unknown rooms. A potted plant in a corner seems an afterthought. N.B.: For now we should see it as a dry, clinical facility. It should feel like a juvenile detention center of some kind. -- Through the glass of the aluminum framed doors we see Jared and Nancy approach uncertainly - then enter. Nancy's ensemble is elegant, if not a little gaudy and mismatched: a Southern Belle dress and a shoulder padded coat. She wears heels and clutches a white bedazzled purse. Jared's white shirt is tucked into a pair of brand new khakis with no belt. He wears rubber soled black shoes and holds a book in a blue plastic shopping bag. They look an odd pair: A tall ‘Tammy Baker' mother escorting her awkward, ultra conservative, son. MALE VOICE O.S I help you? What's your name? Nancy turns, taking her sunglasses off. AARON (40s) stands inside a reception booth: Stocky, with a severe hair-cut, he puts a clipboard on the reception ledge. NANCY Nancy. AARON The kid I mean. Unless you're the one checking in. Jared and Nancy, side by side at the reception desk, sign the clipboard doc*ment. Aaron stands erect with his authority inside the booth. He too wears khakis and a white shirt, along with a blue tie and a name badge. He sizes Jared up. AARON (CONT’D) Let’s get you checked in properly Jared. Wanna say your good-byes? He comes out from the door of his reception booth.
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