Tuesday Night: What the Cat Dragged In

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(this is from the screenplay version, it hasn’t been integrated yet. this is the point where Christine comes to grips with the cameras, audience, being centre of attention. she plays)

JAMIE: Drop your stuff here, a bunch of us are jamming
upstairs.

CHRISTINE: I’m a bit tired.

JAMIE: Too bad, that!

[INT. Bunkers]

(A band plays on the stage, video projected on the back
wall of the bunkers. Chia sings a slow, wordless vocalization
that plays gently with notes and shows her sweet, clear voice’s
range. A crowd of maybe 40 people listens. Jamie pulls Christine
to a spot near the front and they stand in the crowd. Jamie
indicates Christine’s phone. Confused, Christine gives it to
him. Jamie passes it to another boy and speaks inaudibly in the
boy’s ear. The boy takes the phone and disappears as the song
finishes. Lizard jumps on the stage).
LIZARD: Let’s hear it for lovely Chia!

(Crowd cheers, Chia appears proud and happy, exits the
stage and glues herself to Christine’s side. Chia pulls
Christine towards the stage.)
LIZARD: Hey, look what the cat dragged in! Miss Mouse is in
the House! You gonna sing for us, Mouse?
(Christine tries to refuse but Chia pulls her and the crowd
starts chanting, Mouse, Mouse, Mouse. Christine warms to the
recognition and lets herself be deposited on stage.)
CHRISTINE: You guys know any IllScarlett? Nothing Special?
JAMIE: I do! Rails, get your butt up here on drums! Girl’s
got new punk on the brain.
(Stan gives Christine his guitar. Christine checks it out
while the musicians settle. Christine counts down and the band
performs. Christine sees herself on the wall in front of her and
hesitates, then begins to play to herself, feeding off her
performance, liking how she is coming across, feeding on the
audience response. Encouraging tweets show up with the video.
Christine is on fire, playing like she means it. The crowd
responds. Christine shows her power and skill in this song.)
[INT. TIMELESS, OFFICE]
( Cut to Static in the office, very happy with the stats
he’s following on the computer screen. We notice a shadow behind
him but no way to tell who it is.)
STATIC: Your girl’s genius. Look at those numbers spike!
[INT. TIMELESS, BUNKERS]
(Crowd demands an encore. Christine doesn’t try hard to
decline. Christine sits on the stage and picks up an acoustic.
See boys change the angles on video cameras.)
CHRISTINE: This has been the craziest day. I’m totally
beat! I’m gonna sing us all a lullaby my dad used to sing to me,
and then I’m going to bed.

 

Christine borrows an acoustic for her local and online-demanded encore. Covers Cat Stevens If You Want to Sing Out, the song her father sang to help her sleep. Enveloping, community, giving back to them. Thoughts welcome. These two songs mark a turning point for Christine, where she is starting to open herself to others the way she wants to and is afraid to, safer with the “lost boys”

(Christine plays If You Want to Sing Out. Crowd responds
with warmth. Online response shows up on the wall, including
from people in the room. A communication between Christine and
the audience, mostly positive, where she feels safe. A few
jarring not-nice comments but overwhelmed by positive. Christine
opens herself to the audience in this scene – the audience in
the room, the audience online and the real audience of the
movie. When song finishes, Christine gives back the guitar and
grabs Jamie’s arm)
CHRISTINE: Jamie, I really need sleep before I fall over.
Where am I going?”
JAMIE: Okay, grandma. Come on, you’re with me tonight!
[INT. JAMIE’S WORKSHOP]
(Cut to Jamie and Christine entering the workshop from a
back entrance from the tunnels.)
CHRISTINE: I thought I was supposed to sleep in the girls’
bunkers.
JAMIE: Like I’m gonna lock you up in the chicken coop when
I could have you all to myself? Right! Come on, don’t worry. You
can have the cot.
CHRISTINE: Where’s my phone? I need my phone.
JAMIE: Don’t worry, it was out of juice, they’ll charge it
upstairs and hook you up with a few cool apps. It’s all good.
CHRISTINE: I guess. I feel naked without it.
(Christine lies down on the cot. Jamie grabs a blanket and
pillow, then turns off the light. The room plunges into darkness
and silence. We hear Jamie shuffling, trip on something, lie
down on the floor beside the cot. Slowly, a small amount of
light shows shadows. Jamie tosses and turns)

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