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Inside Mined
by Alexandra Duggan
Logline
A young ex-dancer struggling to cope with losing her hold on reality finds herself lost in her own mind,
clinging to the memory of a love and self she has lost along the way.

Synopsis
Viv, now a gaunt shadow of the ballerina and woman she once was, is woken up in a bathtub by the
man who once loved her. She is led down a hallway full of memories she no longer possesses.
Hauntingly beautiful classical music draws her further towards a small dark room. Viv is curious and
comfortable despite the seemingly ominous nature of her surroundings. The walls of the room are
lined with storage boxes, brooms and cleaning products. However Viv is more intrigued by the items
that seem out of place; a flower, a soft ball of fabric, a letter in a ratty envelope, a children's
scrapbook.
As the man hands her each item she is transported back into her last memories of the dissolution of
their relationship. Viv becomes clearly pained as she relives being unable to keep herself, her man and
her mind together. Viv's dream world begins collapsing in on itself as the man she adores fights to
point out the obvious non-reality of the situation. In her final moment of peace it is revealed that from
just outside the door Viv can be heard crying hysterically punctuated by guttural screams of pain. Ove
the PA, a voice requests several nurses attend to Greene Ward, Hall 3. Slumped over the shoulders of
two nurses, Viv emerges. The classical music fades out as Viv and her moment of solace from her
own mind are thrust back into reality.

Treatment
Viv is mid-20s, used to be a ballerina and up until recently lived with her long-term, much-older
partner, whose name and occupation are never defined. Other than the scenes at the end of the film
that reveal Viv is actually in a psychiatric ward of a hospital, the rest of the story occurs in the house
they lived in. It unfolds as Viv makes her way through some of their most difficult memories together.
It is unclear whether Viv is dreaming, and this remains the case as we are taken on a journey through
her haunted past. She seems entirely comfortable as the floating hands of her lover wake her from her
below-the-surface bathtub nap, wrap her in a dressing gown and beckon her into a hallway. As a
rule, the audience never sees anything other than the hands of this man. It should be clear that Viv
looks at him as though his face and body are there, but only his hands, shoulders, arms, should ever
appear in shot.
In photographs lining the walls of the hall, Viv recognises herself but not the events depicted. She is
confused, but leaning more towards curious. The hands are absent from this scene as the
photographs are from her past, before he was ever involved. The hallway is like a literal memory lane
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and representation of the timeline of her life before her lover had become so integral. The eight
source is provided by a candle in Vivs hands, as well as almost a front-facing spotlight coming from
ahead of her down the hallway. Viv walks towards the camera and the light source.
Lured onwards by familiar classical strings music (music she would once have danced too on stage),
she ends up in a small dark room. This place is unknown, but she is not phased. With deep, dark
and ominous tones, the mood is eery, yet Viv remains nonchalant. As with all dreams, the dreamer
feels safe until she is not. Again the main light source is a light that Viv visibly turns on above her head,
her candle has seemingly disappeared. This is intentional to show a disconnect between the two
places. The other source of light is again a spotlight coming from somewhere just behind the camera.
It is in this little cupboard of a room that Viv discovers objects out of the ordinary. As she touches
them, she is transported back to the last moments she can remember with her lover before. Before
what? Before it all ended, before we was sent to wherever she is now. Each time it cuts to a different
memory, the light is far more natural and warm. It is not harsh but almost happy and homely. In these
moments, Viv is still thin, but she has some colour in her cheeks, and wears baggy jeans and t-shirts
that seem far more relaxed than her current situation.
When she touches a flower, the memory is one in which she and her lover are fighting. A bowl of
cereal and milk has spilled onto the table and is dripping onto the floor. Her lover is trying to clean up
the mess while she sits begging for him to listen to her. She tells him the doctors are wrong, but he
knows the woman he loves is lost to him now.
Back in the dark room, her lover hands her a ball of tulle, perhaps an old tutu of hers. It is soft and
vintage rose coloured. Viv was originally barefoot, but now is seen in hospital slippers. While she is
seated and looking up toward the man, we see her from his perspective, from above. She looks
childlike and tiny. The classical music that drew her to this place slowly fades in.

In this memory, conversations with doctors are overheard, and Viv is without a voice. She feels
nothing. This light and real place in her memory is much more terrifying to her than the dark
cupboard room she has just left to be in this old space. She is picking through all her old ribbons,
and trying to sort her ballet paraphernalia away, as though it needs to be packed out of sight.
However she cannot bring herself to box it up, but rather instead balls the tulle up in her fists
repeatedly as she listens to her partners voice respond to her doctor over the phone. He is pacing
around the room, out of focus but it is unclear if Vivs concentration is on him or on the nothingness.
The ribbons fall to the floor as the classical music fades out and she is back in her dark cupboard.
Upon finding a letter from her psychiatrist on the shelves, the floating hands of her partner try to stop
her. She wonders yet again, why must everyone insist that her little dalliances into the dark, happy
corners of her imagination were such a bad thing? The man she loved, the life she wanted... They
were all in there with her. What was wrong with letting her self-soothe?
She reads a letter about her mental health issues from her doctors to her parents while her lover tries
to reason with her to leave the dark space and return to reality. The world she has created in this
cupboard, Vivs dream-world only then begins to crumble. Inside the cupboard, there is definite
sadness but it is quiet and sedate. Outside the door, in the fresh light of morning, Viv's dreadful sobs
and screams can be heard by the nurses who rush to her aid. It quickly becomes clear that she is not
in a small space in her own home, but in a small room in the hall of a mental health facility. And no
face, body or hands of her ex-lover exist here in the stark, clinical glare of daylight. Before she is
pulled out of there, she whispers a soft goodbye, again, to her man. As the truth becomes clear the
classical music begins again, but louder this time as the other sounds fade out. The light is obviously
now morning in this space.

Alexandra Duggan - 3220772

ARTS3061

Due Date: 06.04.2016

Changes Made After Feedback

In my initial vision for the script, there was a lot more backstory that I wanted to include which meant
that some of this influence remained present in the draft script I sent Giuseppa for feedback. She
pointed out that certain scenes felt like they alluded to more than could really be explored in the time
frame so I ended up cutting a few of those.
My feedback also mentioned that the viewer might be too confused by some of the ways the MAN
character appears and disappears, and what his feelings are with regards to VIV. I removed some of
the small actions each character made to lessen this, however I felt as though their relationship should
be confusing; I did not want the audience to have any solid truth about the breakdown of the
relationship, and what they each did to hurt the other. I feel as though matters of the heart are
confusing as it is, let alone when you involve mental health issues as well, so I wanted the audience to
feel confusion and hurt and loss regardless of the reasons VIVs imagination is the only place they can
be together.
I chose not to include much backstory, if any at all, about MAN because he and his reality are almost
not important at all to the exploration of VIVs mind his presence alone allows. By the same token, the
small bitesize pieces of VIVs life prior to this film do not give much away about how she landed herself
in this mental health facility either. I specifically did not want to include these clues because to do so
would shift focus away from the idea that regardless of how VIV ended up in her situation, her
episodes of psychosis provide her with some level of catharsis. Given that these sorts of facilities
exist, the medical and wider communities obviously believe mental health issues to be in need of
some sort of remedy. Providing VIV or MAN with any more rich backstory would allow the audiences
focus to drift toward the dissolution of the relationship.
Finally, Giuseppa gave me the feedback that the end of the conversation in the dark room between
MAN and VIV felt interrupted and unfinished. My original intentions were to leave this this way, to
represent this episode we just witnessed as a recurring thing. However, Giuseppa read that this was
a final goodbye as VIV allowed herself to move on past the thing that was keeping such a strong hold
on her. I feel as though if I tied it all up neatly it would feel as though VIV had made a conscious
choice to leave it all behind, again going against my desire to demonstrate that her psychotic breaks
were something she took comfort in. Yet I see that it needs something more to answer the audiences
questions, so in my final script I have included some further parting words so the audience can
choose whether to believe that there has been a resolution or not.

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ARTS3061

Due Date: 06.04.2016

Feedback from Giuseppa Nastasi

You have really nailed the concept of the not real because it literally had me thinking is this real?
throughout the whole time I was reading it. I really like the idea as well, its different and the concept of
ones psyche and delving into the subconscious really has the reader thinking. Like the film Memento
by Christopher Nolan, paying attention to the details are key because they make the whole film and
you have done so well in encompassing this. Things like the dark room housing symbols of her past,
the doors as a metaphor for her subconscious states, the contrast between light and dark showing
this tension she has within herself; these are all so essential to the readers understanding to this
character VIVs psyche. Even an object as simple as a single flower - completely dismantled petal by
petal until there is one left - I really loved this analogy as well. I think you have done so well in bringing
all these elements together, this is a very well written and emotional script; definitely not what I was
expecting... in a good way!!
The character MAN is intriguing as well, I would have liked to have learnt a bit more about him. I know
the story revolves around VIV but I feel as though MAN would have been someone trying to prevent
her decent into insanity, if not a factor. Thats how I thought it was going to pan out to begin with after
she follows him in the beginning. He is a seemingly important part of her life I figure ( He calls her babe
- I assume he is some sort of significant other) so was he a reason she is the way she is now? He
seems like he really loves her so just some small clarification would be good.
On the same note, is it because she is no longer a dancer? I would have really liked to know what it
was. Even just the slightest little thing in the actions or even the dialogue hinting towards one thing or
another. I feel like this would have given me a strong connection with VIV when learning about her and
taking this sort of trip down memory lane with her. You say her past is haunted (pg 2) and I get the
feeling it is even more haunted than described so I want to know a little bit more of a back story.
The beginning of the script has me a little confused as well... All the other locations that the scripts cut
to, I understand their relevance but the beach, not so much. I understand the need for a transition
from that scene to the next I just don't see the relevance to the story. I may have missed something
important... but it just seems out of place after looking at everything else that has a specific role and
relevance to the script e.g. the dark room, the hallway etc.
Instead, I think you should begin with her in the bathtub and the shot of the sheet over her. If you start
there then the reader starts off by thinking this is a real scenario but as they read on to the synched
dialogue Come with me and Come back to me...? (pg 3) that makes them question whether it is
real or not. I think when I read the first transition I was TOO confused as to whether she is dreaming
or not. I don't think you want your reader to be extremely confused, just moderately... kind of keeps
them interested without them giving up on understanding the story altogether...if you know what I
mean. Also I think its good to have the story grounded in a sense so the reader is too, then start to
play with reality.
As VIV is making her way down the hallway, I get the feeling that MAN kind of disappears
unintentionally. At first I thought he had left the scene after VIV takes the lamp from him but I didn't
understand why as it says that VIVs eyes widen in delight for another adventure with MAN (pg. 4).
Again, I know the focus is supposed to be on VIV and what she sees, but maybe you can include
some little hints that MAN is still there accompanying her. For example, when VIV is exploring the
small low ceiling room you could maybe include some actions of MAN as well. Simple things like
MAN watches as VIV drags a step ladder towards her.... (pg 4) etc. Just a little something to let the
reader know that he is still there. It will be a nice touch considering he is one of the main attractions of
the darkness for her.
On the other hand, if you feel that he shouldn't have more of a significant role, then I think you should
get rid of the line that says she is going on an adventure with him. He can just as well be a figure that
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Due Date: 06.04.2016

appears at certain times to add to commentary. In this sense it is good that you have reintroduced
him in the scene on page 7 where VIV picks up the envelope on the shelf. However, some of the
dialogue might need to be tweaked so he doesn't seem essential to the story. EG. Im happy in the
dark. With you (pg 7). Might be a good idea to get rid of the with you part just so that the reader
doesn't think he is indeed this anchor keeping her in this dark corner of her subconscious. At the end
of the day it is up to you. Personally I would choose option 1 where he is a little more significant in
VIVs actions even if he doesn't do anything, just knowing he is there with her through this journey
would be good.
The bit with the flower is a clever transition from the dark room scene to the flashback with the
cereal. I would probably take out the voice over that says he loves me... he loves me? (pg 6).
Reading this made me question whether MAN actually cared about the well being of VIV. This is not
the case however. I think MAN is very much so invested in helping VIV, trying to protect her and bring
her back to reality. Even in her dream world in the dark room (at least I think it is her dream world) he
is kind and gentle with her, reaching up for the tulle and even calling her darling. There is no doubt
that he loves her and she knows it - when she takes his hands into hers and has them cradle her face
and kisses them. So I don't think she needs to question this love. I understand she is questioning a lot
about herself, her past and her current state of mind and that everything she knows could be up in
the air, but her relationship with MAN and his dedication should definitely be a constant.
One last thing that was a little confusing was the end dialogue between VIV and MAN and the
subsequent action in the hallway. So MAN and VIV seem like they are mid conversation at the end of
page 8 and I was expecting for there to be an answer to MANs question This cupboard...? or your
head...?. Then we see that VIV emerges out of the cupboard. I was half expecting some sort of
goodbye between the two after reading that because it seems like VIV has made the decision to let
the light into her life and essentially let the darkness go. In that case, this version of MAN, according to
VIV can only be seen in this darkness so she has let him go as well. I think their relationship in her
head deserves a goodbye, it made me sad thinking he was just left there - even though this version of
him isn't real - I just imagined the nurse coming in mid sentence and saying ok time to go and VIV
obliging. I feel like I just needed some closure in the dialogue. You could even add it to what they have
said previously, something to the effect of: You know I'm always here for you but its time to come
back to me.
I really like how you have included what types of musical tracks you think would suit each scene. After
reading this comment in my own feedback I can now see how it would really bring together the
actions and have the reader visualise the script better. I also think classical music is an interesting
choice to represent her psyche. I think if you do end up filming this, the deep cello will make it quite
dramatic, which is good!

Alexandra Duggan - 3220772

ARTS3061

Due Date: 06.04.2016

Exegesis
When thinking about the 'Not Real' the idea of the dream world quickly took hold. The dreamer does
not know they are dreaming, so when things are unusual they only seem that way after the dreamer
wakes. Because things are able to be fantastical, and normal emotional responses are delayed or
suspended, the idea of a dream made exploration of mental health questions quite feasible. Viv, the
main character, is struggling through what appears to be hallucinations, or a period of psychosis after
the emotional fallout of something left undefined for the audience. Due to the reason being absent or
at least obfuscated, neither Viv nor the viewer can be sure as to the realness of what is transpiring
before them. It also remains unclear upon the resolution of the film whether or not any real change
has occurred. The conclusion of this particular period of psychosis does not necessarily equate to
Vivs reintroduction into a reality free of mental health concerns.
For the most part, the perception of mental illness is pretty negative. When issues in this area arise
they are considered something in need of being addressed, treated and cured as quickly as possible
and without talking about it. It is often only discussed between mental health professionals and
patients behind closed doors. However, when an experience triggers a mental health event,
hallucination or periods of psychosis can feel comforting and a place of solace for the mind.
Obviously this is not always the case, as peoples experiences differ and the mind can instead turn
on itself just as easily. Yet, this is idea that the mind can go into defence-mode and protect itself by
providing a separate and internal reality, is something worth exploration.
Therefore, Inside Mined challenges the notion that mental health issues like psychosis need to be
cured immediately. Could it be that in the future, these experiences could be seen as somewhat selfsoothing? Viv's dream-world is something she is clinging to desperately after losing her self and her
lover, but in there she is comfortable and happy. She even knows what she is seeing cannot be real.
What if we could reach this same state through something like hypnosis under the guidance of a
professional? If Viv was allowed to continue exploring the corners of her mind in this way, would she
eventually work her way through her emotions to come out the other side with a better grip on who
she is? As society, is this an idea we can even entertain?

Alexandra Duggan - 3220772

ARTS3061

Due Date: 06.04.2016