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Mosaic - Down and Dirty, Critics, Let's Do This

I'd be really interested to hear what you all would think about this one scene from a full-length screenplay that I've nearly completed (First draft).

I don't want to fully give a synopsis of the story on here. This "Lady" character comes into the story during the middle, but has a key role. I haven't added many details, as in "INT -AFTERNOON -" and so on, so forgive it for having that lacking.

At first glance, what is your opinion?


MOSAIC SCENE:

The Psychiatrist is in his office, sitting down in his chair, hand closely on his notes and pen ready in hand. He stares towards THE LADY, who is sitting opposite of him. The Lady is 27 years old. Her face is disfigured, making her look slightly frightening from first glance.

THE LADY
Have you ever walked into a room and all eyes were on you, and there was nothing you could do to change it? Every motion to another side of the room, and there would be new stares, new faces examining and dissecting you?

PSYCHIATRIST
In most cases, I’d say something entirely different than what I’m about to say: have you considered --- how should I put it? --- facial surgery to repair the issue?

THE LADY
Why?

PSYCHIATRIST
You’ve shown some discomfort with the attention you receive because of this.

THE LADY
Is that what you’ve taken out of what I’ve said?

PSYCHIATRIST
Are my assumptions misguided?

THE LADY
Surgery to repair me into normal, that’s the answer isn’t it? Become someone new?

PSYCHIATRIST
Since the day we were born, it’s been in our nature to be evolving, changing, adapting, finding what best suits our individual needs to make it through our day to day lives.

THE LADY
When the lights go out, what’s left but the shell of a memory? I wish I could say I cared.

PSYCHIATRIST
Then what do you care for?

The Lady is silent for a second. She looks down at her hand, studying it for a second.

THE LADY
Nice of you to ask.

There is another silence between The Lady and the Psychiatrist.

THE LADY
Do you have children?

PSYCHIATRIST
Three.

THE LADY
Do you remember that first moment you ever held each of those children?

PSYCHIATRIST
Quite clearly. You don’t easily forget moments like those.

THE LADY
No, you don’t.

There is another silence between The Lady and Psychiatrist.

THE LADY
Life is a series of accidents, isn’t it? Look at me closely.

The Psychiatrist looks at The Lady, paying full attention to her.

THE LADY (CONT’)
I’m not the definition of beauty. I’m far from it. Repulsive to some. And that’s what I have had to live with my entire life. Men aren’t very fascinated in a face like mine. Which is fine, but it’s the truth. I considered myself a strong person and was prepared to live my life alone. I didn’t need anyone and nobody needed me. Then one night, thanks to the power of alcohol and sexual desperation of men, someone came home with me. He ran off in the morning when his vision could better recognize my face and, once again, I was left by myself, back at the beginning where I had started. Or so I thought. That one accident of a night was when my daughter was conceived. Instead of being entirely alone, there was one more person to join the ride with me. Even before she was born, she was my little sidekick.

The screen shows a newborn child, wrapped up in cloth, being held by The Lady. The screen only shows the baby’s face and wrapped body, however.

THE LADY
V.O.
Holding her for the first time, I could feel her fragile body pressed next to mine, so afraid that she might break right in front of me. But then again, you know that would never happen, because you’d never let it happen. You know that whatever will come in this life, that they will always have your heart, they will always be safe with you, they will always have arms to cry in, arms to love them in, arms to let them know that it’s always going to be OK.

The screen shows a different hospital room. It about four years gone by, at this point. The Lady is shown sitting next to her child, a beautiful little girl, who is pasty white, and whose eyes are closed.

THE LADY (CONT’)
V.O.
--- You close your eyes and four years goes by. You’re next to the one and only thing that will ever be home. You watch, before your very eyes, as she slowly dies and no one, not even God himself, can save her. And yet, with each and every new day, you tell her that she’s going to be OK. That somehow everything will be a dream. Somehow we’re all going to be going on a long trip somewhere, going far away from everything that reminds us of the hospital bed. She looks at you with those beautiful green eyes, and says ‘I know’.

The screen shows a different day, in the same hospital bedroom. The Lady is holding her daughter’s hand.

THE LADY (CONT’)
V.O.
You tell her that every day, right up until the moment that her hand tightens against yours, those green eyes frightened, mouth unable to speak, and then suddenly everything stops.

The daughter’s hand goes limp, and all pressure and pulse gone. The whole moment feels slow, like it takes a lifetime to happen.

The screen goes back to The Lady in the office with the Psychiatrist.

THE LADY
You asked me before, what I care for? It’s gone. But it is what it is, and I’ve already dealt with it. So I don’t want us to mention this again. Words won’t change what happened, no emotion

PSYCHIATRIST
No, words can’t change what had happened, but they can change the emotion. That’s why we’re here. We need to talk about these things so we can keep pushing forward in our lives.

THE LADY
Keep pushing forward to what? Death? Keep a steady, unwavering routine in my life so that everyone can say I’m doing good again? Keep a regular job so that I can pay bills, in expectation of a better tomorrow? We’re in today. We’re not in tomorrow. Tomorrow ended when my daughter did. You know why we keep so busy in life? Because it helps us forget what everything eventually comes to.

PSYCHIATRIST
You’ve had a loss and a pretty damn big one at that. I love my children to death and could never imagine losing one of them, but you need to realize that there are other good things in life.

THE LADY
It seems to me like I’m an inconvenience to everyone. I’m disaster, but shouldn’t act like one. An eye sore to everyone, but I should at least smile so that everyone else can too, right?

PSYCHIATRIST
That’s not it at all-

THE LADY
Look, my girl was my light in life and now it’s turned off. Everyone is so quick to tell to keep moving, but why stumble around in the dark? I’ll only run into things. I’m okay to just stand around for a while, because time is always on my side until it’s gone.

PSYCHIATRIST
As much as we as humans want to deny it, these terrible situations of chaos are inevitable. We all experience loss at one time or another. The one and only decision that will help us move past these times are, are we willing to take that forward motion at finding new happiness?

THE LADY
But why?

There is a brief pause as the Psychiatrist searches his brain for the right answer.
The Lady sits patiently, not being smug or coy, waiting for his response.

PSYCHIATRIST
For the short amount of time we’re given in this life, why not do something significant and edifying for the soul? Possibly to help those who need your comfort from feeling the same pain that you’ve been given.

THE LADY
Is that what you tell the dinner guests when they ask “So why a shrink?”

PSYCHIATRIST
I understand you’re going through some emotional stress, but I don’t enjoy the mockery.

THE LADY
I’m sorry. Well, let’s go with the answer you’ve given then. To comfort people for the short amount of life they live. I’ve done that. Kept telling the same lie to my daughter and in the end, it wasn’t ok. I hope she believed it, because I sure as hell didn’t. Who else do I have to comfort now? I’m not asking for pity, or playing the “woe is me” song. I just feel like I had a job and it’s done.

PSYCHIATRIST
Have you ever thought to let someone else into your life, to comfort you?

THE LADY
My daughter comforted me. The short amount of time we had together was more important than any life before or after. I’ve heard many times that it’s the journey that makes life so fulfilling, but that trip ended at a gravesite laid out with flowers.

PSYCHIATRIST
As for your personal life, I’m sure there are others who care deeply for you, who are willing to be there side by side you, ready to pick you up where you fall.

THE LADY
I grew up with a father who left at my birth, a mother who felt guilt for bringing me into the world with my condition, and a family whose children can’t stand to look into my face, so they go as soon as they came. Support within there? I tend to see that if something hasn’t happened in the past, why expect it to change in the future?

PSYCHIATRIST
If nothing else, you can trust me that I am here for you.

THE LADY
By the hour. Would you like it cash or cheque?

PSYCHIATRIST
Don’t say that. I didn’t choose this profession for the money, I chose it to help people. Believe me when I say I really want to help you.

THE LADY
What you’re doing is attempting to distract me from what my situation is. You’re here to help me, right? But to help me from what? I’m beyond the point of needing a distraction. That’s all life has been. Why do people become alcoholics? It helps drive away the fact that they have a life with it’s imminent problems. Why do we find romance and indulge ourselves in meaningless sex? Because it’s a euphoric feeling that takes us away from everything else. Why do we need all the latest gadgets and clothes and every little thing that comes out? To make ourselves feel better about our lives, and believe we’re doing something right before the end comes. Living air-brushed lives. It’s a game of distractions. I’m done trying to distract myself.

The psychiatrist stares on, not able to come up with any retort.

THE LADY
You want to help me so you know you’re doing a good job, because otherwise you’re going to go home troubled. You don’t like to feel troubled, so you’re going to find something to take you’re mind off of it. Play with your kids and hug your wife so you can feel happy again. But that all ends. At some time or another it’s all going to end and you’ll be left with nothing but the trouble on your mind that you’ve fought so hard to fend off.

There is a brief pause.

THE LADY
But you’ve got a life to live outside of here, so don’t let me distract you from that.

The Lady stands up and walks out of the room.

The Psychiatrist sits in his chair, completely motionless.
 
Very interested to hear your opinions. Ill get a hernia waiting.

By the way, I don't mind reviewing anyone's screenplay work. I like giving an opinion, if anyone is trusting enough to share their work.
 
I actually like that quite a bit, but don't just go by me...I'm new to all of this.

Since you offered can you tell me what you think about this small chunk of a feature I'm writing.

After the opening credit roll the lines of a poem are shown on a book crawling across the screen. One at a time, JAKE reads.

Jake

Darkness Rises, people fall
In his hands, he holds the call
Whether they live, whether they die
He only gets stronger as time goes slips by
Will he bring life, will he create scars
One this is for sure, this life is not ours

After the poem is read, a new voice begins to speak. The voice is deep and smooth and full of evil. As it begins to speak a man is seen forming in the shadows.

Shadow Man

This poem, the poem that you keep reading to yourself every night, is about you. On your 18th birthday you're going to receive powers. These powers are going to overtake your very own will. You're going to crave death and destruction as you watch the world burn at your hands. It's going to be all your fault Jake. (Voice turns into a guttural scream) YOU HEAR ME JAKE? ALL YOUR FAULT!

QUICK CUT

INT

JAKE'S eyes snap open as he gasps for air as if waking up from a nightmare. He glances over at the clock on his nightstand and said that it says that it's 6:30. He had to be to school by 8. Senior year. The scene fades away as he climbs out of bed and sighs.
 
I actually like that quite a bit, but don't just go by me...I'm new to all of this.

Since you offered can you tell me what you think about this small chunk of a feature I'm writing.

After the opening credit roll the lines of a poem are shown on a book crawling across the screen. One at a time, JAKE reads.

Jake

Darkness Rises, people fall
In his hands, he holds the call
Whether they live, whether they die
He only gets stronger as time goes slips by
Will he bring life, will he create scars
One this is for sure, this life is not ours

After the poem is read, a new voice begins to speak. The voice is deep and smooth and full of evil. As it begins to speak a man is seen forming in the shadows.

Shadow Man

This poem, the poem that you keep reading to yourself every night, is about you. On your 18th birthday you're going to receive powers. These powers are going to overtake your very own will. You're going to crave death and destruction as you watch the world burn at your hands. It's going to be all your fault Jake. (Voice turns into a guttural scream) YOU HEAR ME JAKE? ALL YOUR FAULT!


QUICK CUT

INT

JAKE'S eyes snap open as he gasps for air as if waking up from a nightmare. He glances over at the clock on his nightstand and said that it says that it's 6:30. He had to be to school by 8. Senior year. The scene fades away as he climbs out of bed and sighs.

As soon as your Shadow Man comes in, his lines remind me of a baddie. You know? I'm so critical of "The Baddies", because they've got to be done completely damn right to be completely damn good. The atmospheric shot of the Shadow Man in the shadows is a great idea, gives a real visual that will stick, I'm sure. But his lines feel talky and stilted. Who is the Shadow Man? Is this a horror or sci-fi? I'd be interested to hear more or see more, but it's difficult piecing together the whole story from a short segment, of course.

Because this is at the very beginning of your feature, it's the first impression. Hit it so hard that people feel like they're living through Rocky X, brother.

My thoughts: Build up. You've got Jake talking, so let him read the poem, but create this distinct change of mood, and music is going to be especially important, taking it slow to faster to a STOP, wake up.

-Jesse
 
I actually like that quite a bit, but don't just go by me...I'm new to all of this.

Don't sell yourself short. If you're a filmmaker, your own critical opinion is a good thing, I can use it.

For lack of a better way of putting it, you are the audience. Even as an aspiring filmmaker, you're still the person I'm trying to reach, you know? It's good.

What did you like about it, though?

It's a change of pace from the other part of Mosaic, which is a crime black comedy. It's got to hit a nerve. To me, it really rang true, because I have a daughter myself, so it felt personal. But my opinion is biased, because I wrote it.

What you, and the rest of the forum have to say, is good. Critical, brother.
 
Interesting. And grim.

Nice work. =)

Thanks, I appreciate it. Hit me with some more detail, if you've got time. Get nice and critical.

Is it engaging? Do you just want to get it over with because it's so damn monotonous? I'm interested.

The grim atmosphere is definitely the direction I'm talking with this.
 
myownself,

I think perhaps less would be more in the case of this scene. I don't know where the story is going, but I would consider cutting the shadow man's dialogue. If the audience is left to dwell on what the poem means and unravel it themselves as your story unfolds, rather having it explained in the first scene, it could have more impact and mystery. Hope this makes helps :)
 
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myownself,

I think perhaps less would be more in the case of this scene. I don't know where the story is going, but I would consider cutting the shadow man's dialogue. If the audience is left to dwell on what the poem means and unravel it themselves as your story unfolds, rather having it explained in the first scene, it could have more impact and mystery. Hope this makes helps :)

Ah, thank you. You just confirmed that what I wrote worked. Trust me, I didn't explain much at all in that first little scene.
 
While I like the concept, this would be deadly to watch. It is much too wordy with too little visible action. This is a "book scene". It plays out well in a book but not in a "film scene". You need to decide whether you want to write a novel or a screenplay. If the former, it is fine to wax philosophically. If the latter, you need to short the dialogue and remove the redundancy. Cut down the long voiceovers to the key points.

I appreciate the artistry you are bringing to the dialogue but its just too much if this were actually filmed. There is too little action which creates the effect of "talking heads". As a viewer, I don't have a clear sense of the relevance or direction of this scene. Is the psychiatrist relevant? He's forgettable in this sequence. I find myself wondering why is she even there? I understand this is just a fragment from your script, but for me the scene felt self-absorbed without purpose. She acts as if she has no problem. He does nothing to identify her concern. She leaves without any engagement. I found the psychiatrist's comments very uncharacteristic. I'm sure it would make more sense in the full context of what precedes and follows the scene. It is insufficient in itself to have held my interest. Good luck with your revisions.
 
While I like the concept, this would be deadly to watch. It is much too wordy with too little visible action. This is a "book scene". It plays out well in a book but not in a "film scene". You need to decide whether you want to write a novel or a screenplay. If the former, it is fine to wax philosophically. If the latter, you need to short the dialogue and remove the redundancy. Cut down the long voiceovers to the key points.

I appreciate the artistry you are bringing to the dialogue but its just too much if this were actually filmed. There is too little action which creates the effect of "talking heads". As a viewer, I don't have a clear sense of the relevance or direction of this scene. Is the psychiatrist relevant? He's forgettable in this sequence. I find myself wondering why is she even there? I understand this is just a fragment from your script, but for me the scene felt self-absorbed without purpose. She acts as if she has no problem. He does nothing to identify her concern. She leaves without any engagement. I found the psychiatrist's comments very uncharacteristic. I'm sure it would make more sense in the full context of what precedes and follows the scene. It is insufficient in itself to have held my interest. Good luck with your revisions.

That's exactly the type of comment I was hoping to hear on here. Thanks. I can work with that. The whole story is very action-packed (not in a Jason Stathom way, of course), and this one scene needed to dim it down for a second. I want the viewers to be drawn out of everything else, wondering what relevence this has? At a later stage, it connects very closely.

Again, this was a first draft written in a night with my fellow screenwriter. We wanted to throw it out on the table, then dissect it from there.

I agree, just reading over it, the Psychiatrist doesn't have much to contribute. Even though he only plays a minor role, it still needs to be three dimensional in its own way.

It's a crime film that plays out like Good Will Hunting and Magnolia, for lack of better examples.

Thanks again, I see where there is work to do.
 
I hope, over the course of their therapy sessions, that the Psych either helps her to love herself for who she isn't...or that he falls in love with her for who she is. Imagine him cheating on his stunningly beautiful, but lifeless Wife with this physically disfigured, but alive and emotionally beautiful Lady...the story could get very interesting.

One side note, forgive me, it seems very unbelievable that a Psychologist would suggest a "physical" fix to her problem, when Psychs are usually suppose to offer "emotional" suggestions or advice to people's problems. Am I wrong here?

Imagine the Lady actually gets reconstructive surgery, and something goes wrong and she doesn't like the way she looked? She sews the Psych and he loses his license.

Other than that one note, I really like this concept.
 
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