Written by Maria Alexea / Reviewed by Adva Reichman
The story is set in London and follows Anaas she waits for her driver. Ana is not at peace, and we get the feeling something isn’t quite right, but don’t know what it is just yet. We see the environment Ana is in and get response to the different people and scenarios around her. Juakim, the driver, arrives and takes Ana to her destination. On their way over, we find out he sees dead people and that there is one sitting next to Ana as they drive.
Just when you think you know what this story is about and where it’s going to, it surprises you and creates a twist. Thus, leaving you guessing and speculating about what’s to come. As the script progresses the anticipation grows and the fear of something bad happening deepens. Sayyed does a good job luring the reader in and prolonging the suspense. Then, when the reader feels safe again, Saayed lands his next blow and reveals the next twist.
The clear descriptions and the vitality in them makes you feel present in the moment and trying to understand what it is that’s causing Ana to feel so unease.
After Juakim tells Ana there is a dead person sitting next to her, she makes fun of it.That first response is understandable, but then she decides to take a picture of the seat next to her and see if her camera catches anything. Surprisingly, it does. The camera show a faceless man. Ana tenses, but her reaction isn’t as fearful and shocked as one would expect.
The moment of discovery and Ana’s behavior after it,can be further developed in order to build a greater sense of panic and uncertainty.It can confuse the reader even more and let him believe Ana has no idea who that faceless man might be.
Ana’s response raises questions – How can she remain this clam? Why doesn’t she ask more questions? Why doesn’t Juakim ask her who that man might be? Why doesn’t Ana ask to step out of the car or runs away? And most importantly, what does this behavior tell us?
It all points to the idea that there is something Ana knows that we don’t, but a more sophisticated response from her could throw us off even further. Ana’s response creates tension but can benefit by developing it and giving the scene the length, it needs.
The two begin to talk about Juakim’s ability to see the dead and how it alarms the tourists. A fact that causes the hotel to hire him only when they are understaffed. We start to care for Juakim, his condition and his simple wish to make an honest living.
Sayyed shows the reader Juakim is a decent man. But after you start to like him, you learn his flaw. The same one that will lead to his bitter end.
The conversation ends abruptly as Ana screams for Juakim to stop the car, but it isn’t the dead man next to her that triggers her scream.
As the story unfolds, we see Ana’s attraction to nature and beauty. Juakim, on the other hand, sees nature in a different way and lives with a different set of values.Both characters are tragic.They don’t change throughout. Their arc isn’t complete and that leads to both of their ending points. It might make the story a bit more riveting if a change does occur or at least it might seem as if one of the characters try and then fails because they are too accustomed to their own way.
Both Ana and Juakimsin. And even though murder is the greater sin, it is the other sin the writer points a finger at.
USE ME is a clever script with an important message. The writer found an original way to convey one of today’s main problems. He captures the reader and gains his interest with suspense and horror, but manages to not only entertain while doing so, but to actually say something worth saying.