INT. OFFICE – DAY
GINA DAGGETT, 36, sits at her desk, headphones and glasses on. She studies her journal, rereads scenes written the day before and then drops a blog.
On her Jukebox blog she types:
“I’m knee-deep in Final Draft today, working hard on the re-write for the adaptation of the novel. I’m struggling a bit, as I’m unsure which scenes/storylines would make the strongest film. I definitely don’t just want to tell a coming out story, or simply a love story; I desperately want to peel back the layers of what is Jukebox, the novel, and have a hard look at its underbelly.
I keep coming back to secrets.
We all have them. We all keep them for others. We’ve all spilled them at one point or another and then felt elated. Set free.
Or worse, vilified.
Worse yet: sorry.
Tumbling in my mind, the thoughts conjured as I stare at the outline blocked with chalk beside me…
Where there other secrets in the Dunlop family? If so, what?
What is Cilla running away from? What was Dean hiding? What about Stowe? JW?
How about Harper? Did she have any secrets? If so, what was her motivation for hiding?
I’m also interested in the complexity of what it takes for a mother to turn her back on a child, be it one by blood or by love.”
BACK TO SCENE
Gina stops typing and stares through the window, snow still on the sidewalks. Burton Cummings sings Sour Suite into her ear. She stands up, grabs her iPod, her toque and gloves.
SLOW DISSOLVE TO:
EXT. SPANISH BANKS – DAY
Gina runs on the beach, Vancouver’s downtown skyline in the distance, her dog at her feet…