STRANGELY, BEAUTIFUL
Short Film
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A woman is lying on her death bed, her soul a separate entity on the stage. The dying woman doesn't speak. We hear her soul embarking on the journey from life to death. On the one hand, we get tastes of the woman's life through the characters of her children; playing out the mixed emotions of their imperfect lives. On the other we see the lightness of the spirit's journey from soul and the ghost of her husband. At the end of the play, she dies, and her soul goes in joy and peace with the ghost, while the adult children feel heavily anchored in the conflicts of life and grief.
STRANGELY, BEAUTIFUL
BY ASARIAH TELLEGEN
SCENE ONE:
THE STAGE IS DARK. CENTRE STAGE IS A BED, A HOSPITAL BED. IN IT IS AN ELDERLY WOMAN, DYING. BESIDE THE BED IS A HOSPITAL TABLE. THE STAGE IS STARK. THE BED IS ANGLED FOR THE BEST VIEW OF THE OLD WOMAN. THERE ARE 2 CHAIRS AT ONE SIDE OF THE BED FACING THE AUDIENCE. SEATED ON THE CHAIR CLOSEST TO THE WOMAN’S HEAD, SITS A MAN, WEARING APPARANTLY OLDEN DAYS CLOTHES, READING A BOOK TO THE WOMAN. THE WOMAN IS PROPPED WITH PILLOWS.
THE STAGE LIGHTS UP WITH A SPOTLIGHT ON THE BED.
THE MAN CLOSES THE BOOK, GETS UP AND WALKS OFF THE STAGE.
AS HE IS WALKING OFF STAGE, A WOMAN, DRESSED EITHER IN BLACK, OR IN OLDEN DAYS CLOTHES, 40’S, ENTERS AND STANDS AT THE HEAD OF THE BED, ABOVE THE HEAD OF THE OLD WOMAN, FACING THE AUDIENCE.
SHE WILL BE CALLED “SOUL”. SHE IS HALF IN SHADOWS.
THE OLD WOMAN’S BREATHING BECOMES AUDIBLE, LABOURED, GASPING FOR AIR… AND, AS SOUL TALKS, THE BREATHING ECHOES SOME OF THE PHRASES.
SOUL
I used to be frightened of death… Not so much death, as dying. It frightened me to think that I would maybe go through incredible agony; like with cancer, before I died. I thought of that moment… when the breath leaves; those last breaths… imagining what it would feel like, choking to death… not being able to breath; the fear, the desperation of gasping for a last breath.
(PAUSE)
We are built to survive… we are built to want to breathe. It is in our genes, DNA, whatever… the lust of our bodies to keep breathing.
(PAUSE)
When I was very young, I nearly drowned. I don’t remember the process, the gasping for breath, lungs pulling in water, the grasping for life; the body’s fight to inhale life… But it’s there, inside of me, in each of my cells… the fight to breathe. The struggle. The helplessness of losing life to the floating tomb around me. What must it have been like, in the womb, no breath, just floating in the water; the water in you… and death comes as the pushing squeezes you through the portal of dark pain, into the excruciating light of this world. A harsh light penetrates the pores and the thin closed eyelids. A death as sure as the other one will follow one day… later.
(PAUSE)
I was a wanderer. I have floated through the mists of time and wept… fleeing life for death, death for light, light for sight, sight for truth, truth for yearning, yearning for touch… oh but the touch of love is a fleeting pleasure in this land of painful partings.
(PAUSE)
The hospital ward where they put me to die… cares not for my fragility, nor for the person beneath the withered skin. I have an eternity to offer, all caught in the web of my dying brain cells and aching limbs: Limbs that are roughly touched by insensitive hands of institutionalized carers.
(PAUSE)
But I care only for my space. Time is over. I am floating between worlds. Like my memories: They come and go, without much reason, journeying through the weight of dead and dying cells.
SLOWLY THE STAGE LIGHTS UP FULLY WITH AS BRIGHT AND WHITE A LIGHT AS POSSIBLE, DENOTING THE STERILE WHITENESS OF AN HOSPITAL ENVIRONMENT.
ENTER TWO FIGURES. ONE MALE. ONE FEMALE. THEY ARE FAMILY. THE OLD WOMAN’S CHILDREN. THEY ARE MIDDLE AGED… NON DESCRIPT CLOTHES. THEY APPEAR TO BE WORRIED, BUT ALSO NERVOUS. THE WOMAN HAS BROUGHT A BUNCH OF FLOWERS THAT SHE PUTS IN A VASE ON THE TABLE AND THE MAN HAS A SHOE BOX WHICH HE LAYS AT THE FOOT OF THE BED.. THEY SIT ON THE CHAIRS AND THE WOMAN, WHO IS CLOSER TO THE HEAD OF THE BED, TAKES THE OLD WOMAN’S HAND. SHE LEANS OVER. THE OLD WOMAN OPENS HER EYES AND GIVES A SMALL SMILE.
MOLLY
Mother, you are awake.
THE SOUL, BEHIND THE MOTHER, ANSWERS.
SOUL
Yes, dear, I was just thinking…
MOLLY
How are you? You are looking well.
MOLLY DOESN’T REALLY MEAN WHAT SHE SAYS, AS SHE SEES THE DETERIORATING STATE OF HER MOTHER IN THE HOLLOWED EYES LOOKING AT HER.
SOUL
I’m just tired, Molly. It’s not as bad as it looks.
MOTHER BECOMES CONSCIOUS OF JAKE, HER SON, SITTING QUIETLY BESIDE MOLLY… HE WAS PROBABLY LOOKING AT THEM, THEN AROUND AT THE REST OF THE WARD, OR IN THE AIR…
SOUL (CONT)
… Jake. Is that Jake? It’s been a long time since you’ve shown your face.
MOLLY
Jake’s here to see you, Mum. He’s flown down all the way from Brisbane.
SHE TURNS TO JAKE AND MOTIONS HIM TO MOVE INTO VIEW.
MOLLY
Jake, move here, where Mum can see you.
HE MOVES OVER, A HALF STANDING LEAN. HE LOOKS UNCOMFORTABLE AND ILL AT EASE.
JAKE
Hello Mum. Keeping the bed warm, I see.
SOUL
What d’you expect me to do? …Oh! And it helps to have full nappies, too! They don’t change me as often as I changed you…
JAKE
Beth is well and the kids, well, you know how kids are... ha, ha, you had us. Sorry I’ve been so busy, the business, you know.
MOLLY
Show her the photos, Jake. Mum, Jake brought the shoe box with photo’s of Dad when he was in the army… and old ones of the two of you.
JAKE
Sandra found them in the Attic when she was cleaning out. Thought you’d like to see them again, so I brought them. I showed the photos to the kid’s. Does them good to see their Nana looking young. They…
MOBILE PHONE RINGS.
JAKE
…Expecting an important call, excuse me.
EXIT JAKE, TALKING ON PHONE….
SCENE TWO:
AT A CAFÉ: TABLE AND TWO CHAIRS. TWO CUPS, SAUCERS, ETC ON TABLE, AND POSSIBLY TABLE CLOTH. MOLLY AND JAKE ARE SEATED. THERE IS AN ASHTRAY ALSO, WITH A FEW SMOKED CIGARETTE STUBS ALREADY IN. THE COFFEE CUPS ARE HALF FULL.
LIGHTS GO UP, DIFFUSED, WITH A SOFT SPOTLIGHT ON THE TABLE AND THE TWO SEATED FIGURES WHO LOOK, AS THE LIGHT GOES UP, TO BE INTENSELY IN CONVERSATION.
MOLLY
What do you think it’s been like, Jake?
JAKE
Look, don’t give me your usual blame bullshit… I have a bloody busy life.
MOLLY
And I don’t? Look, Jake, where are your priorities… she’s dying, for God’s sake… and you just…
JAKE
…Not again, Molls. Look, I am upset. I… I did love her… It’s, it’s just been tough to watch her get old and so… (HE SPITS IT OUT) fucking gross! (HE CALMS DOWN) She got so crazy, those last years, and, frankly, it freaked me out.
MOLLY
Maybe that’s because you stay away for months and years. If you hung around all the time, you wouldn’t have noticed so much. And now she’s just about to go. Well. Jake. I can’t handle it myself. I’m exhausted. (PAUSE) We had her with us for years, and as soon as she goes into hospital, the bastard tells me he’s been having an affair and wants a divorce – now the doctor says she’s not going to last much longer. She’s going, and fuck knows, I don’t have the energy to cope. I’ve gone in there every day for months, held her hand, listen to her raving, repeating the same story, or forgetting who I am… and all I want to do is scream…
THE MOBILE PHONE RINGS. CUTS THE AIR LIKE A KNIFE. JAKE FLICKS IT OPEN WITHOUT HESITATION, AND ANSWERS. MOLLY IS FUMING. SHE MUMBLES UNDER HER BREATH AS JAKE TAKES THE CALL.
MOLLY (AS JAKE IS MOVING AROUND AND TALKING)
…. Bloody typical… bastard… mumble… oath… etc….
JAKE
Jake McGee. Yes Frank. What? You did what… can’t I leave for one minute… Okay… so, I’m …. Look I’m on the next flight, we can talk about it then. Tell George to get onto it. Yes. Bye. Yes. Okay… Bye… Look, Frank, I’ll be back tomorrow… bye..
JAKE PUTS THE PHONE AWAY WITH A MIXTURE OF IRRITATION FOR THE CALL AND DEFENSIVE ANGER AT MOLLY.
MOLLY GIVES HIM A LOOK.
MOLLY
I don’t believe you!
JAKE
It was important.
MOLLY
…and I’m not?
JAKE
It’s not that. You know it, Molly.
MOLLY
I – I remember a time I could talk to you. What about Mum. I’ve had it. I’m trying to tell you… but the phone…damn it.
JAKE
So what do you want from me?
MOLLY
Fuck you! Jake. Have you been listening to me. I’ve had it.
JAKE
If it was up to me… Molly, I’d… I mean, if it was a horse, you’d shoot it….
MOLLY
What are you saying, Jake?
JAKE
Makes you want to just take her into the forest or something, like the American Indians, and let her die… I mean, what’s the point of dragging it out and all… what’s all the fuss over keeping people alive, anyway.
MOLLY
Do you mean that, Jake?
JAKE
Yes. Maybe. I just feel so angry… helpless… it’s ugly. It’s fucking useless – why do people have to disintegrate, Molly?
MOLLY
I don’t know.
SCENE THREE
STAGE IS BLACK AGAIN. THE VOICE OVER OF SOUL BEGINS. AS SHE TALKS THE STAGE IS AGAIN SET LIKE THE FIRST SCENE WITH THE SPOT SLOWLY LIGHTING UP ON THE OLD WOMAN IN BED. BEHIND THE BED, ON THE WALL, AND WHERE BOTH THE OLD WOMAN AND SOUL ARE LOOKING, IS A PHOTO FLASHBACK OF SCENES OF THE WOMAN’S LIFE, PLAYED OUT IN FAST LITTLE PASTICHES… ENDING AS THE MONOLOGUE, WHICH WORKS IN WITH THE CLIP, ENDS.
SOUL
I don’t mind anything I’ve done; all that was. It seems to be so small and easy now. (She laughs, lightly) How I suffered then. The things I thought were important. Nothing seems important now. I feel strangely at peace with who I am… this simple core inside… It’s so relaxing to let it all fade away… strangely beautiful.
(PAUSE) Oh. Hello Gordon.
A TALL YOUNG MAN HAS ENTERED, WEARING 2ND WORLD WAR ARMY CLOTHING. HE STANDS OVER HER AND SHE LOOKS UP AT HIM… THE SPOTLIGHT HAS ALSO SLOWLY LIT THEM UP BUT IS STILL DIFFUSE. THE FIGURE OF SOUL MOVES FORWARD TO MEET HIM.
GORDON
Lilly, my sweet. Are you ready?
SOUL
I don’t know, Gordon. (PAUSE) There’s been times when I wanted so much to die. So many times. The dark moments. After you died. When Sandy had his accident and all those years after, when he was in the home, slowly rotting away… the kids though… I had to keep on going until I knew they were okay… Then, as I got older… It’s funny, Gordon, but I got less worried as I got older.
GORDON
I love you, Lilly. You are such a good woman. You’re time is almost over… and there you lie, (HE LOOKS DOWN AT THE OLD WOMAN) still looking beautiful to me.
THE LIGHTS GO UP BRIGHTLY. MOLLY ENTERS, LOOKS TO SEE IF HER MOTHER IS AWAKE, TAKES OFF HER JACKET, PLACES IT BEHIND THE CHAIR AND SITS DOWN. SHE TAKES A BREATH, AS IF TO GIVE HERSELF ONE LAST MOMENT BEFORE SHE HAS TO ACT HAPPY, THEN SHE LEANS OVER, FINDS HER MOTHERS HAND AND HOLDS IT IN HERS, STROKING IT WITH THE OTHER HAND. HER MOTHER’S BREATH IS DIFFICULT AND SOUNDS PAINFUL.
MOLLY
You look happy today, mum.
THE OLD WOMAN IS GAZING AT GORDON WHO IS STANDING BEHIND MOLLY’S RIGHT SHOULDER. MOLLY JUST THINKS HER MOTHER IS GAZING INTO THE DISTANCE AND IS USED TO HER MOTHER ‘NOT BEING ALL THERE’.
SOUL (TO GORDON)
I wish she could see you, Gordon. She was so upset when you died… I think I was more upset for her and Jake, than me… they were just such little things.
GORDON
(TO MOLLY) You were your Daddy’s little angel…
(TO LILLY) Sad to watch her still carry the pain. (WITH A CARESS ON MOLLY’S HAIR, TO MOLLY) I love you Molly.
MOLLY SEEMS TO SOFTEN AT THE TOUCH.
MOLLY
Well, mum, the boys are off on camp next week. David is so excited. He wants to go Abseiling. Do you know what that is? It’s climbing down cliffs… but, don’t worry, mum, they are completely tied together with ropes, and the instructors know what they are doing. John’s a bit sooky. It’s his first camp, and you know John, he’s a softy under all that bravado…(SHE’S BEEN LOOKING ALL SOFT AND MATERNAL, BUT SHE STRAIGHTENS HERSELF UP) It’ll do him good. (SHE NODS IN AGREEMENT) And, lord, I shall just love having a break from those two ragamuffins.
(SHE LOOKS AT HER MOTHER, WHO IS BREATHING VERY SLOWLY AND SHALLOWLY AND HER EYES ARE NOW HARDLY OPEN) You are looking tired, Mum… I’ll come back tomorrow? Would you like that? … GORDON PUTS A HAND ON HER SHOULDER COMFORTINGLY.
GORDON
They’re good kids, Lilly.
SOUL
I know, Gordon.
GORDON
Like to take another trip with me, Lil, like the old days… I’m wearing my uniform. You loved me in that. (HE SMILES) Silly Lilly.
SOUL
The water… I love the ocean… how it swells and crashes over you…. that trip to Bryon … the water was so warm…
GORDON
…Skinny dipping at midnight on the beach… and you were so scared of being caught.
SOUL
What if that horrid Vicar had come along…
GORDON
The nights were so warm… and the days…
SOUL
I got sunburnt…
GORDON
…and pregnant,
SOUL
…staying indoors for three days!…
THEY LAUGH. SOUL TURNS TO GORDON… SHE SMILES… HER FACE CATCHES THE LIGHT AND LOOKS RADIENT. THEY ARE CLOSE AND MOVING AWAY FROM THE BED.
SOUL
Gordon.
GORDON
Yes, my lovely?
SOUL
I’m ready.
SOUL TAKES A LONG LOOK AT HER OWN DYING FIGURE. MUSIC, LIKE SOFT BELLS COME FROM OFF STAGE AT THE SIDE THEY MOVE TO. GORDON AND SOUL EMBRACE AND WALK HAND IN HAND TO A SPOTLIGHT AT THE EDGE OF THE STAGE. MOLLY IS LEFT WITH HER MOTHER WHO TAKES HER FINAL BREATH AND DIES.
MOLLY
Mum?
LIGHTS FADE TO A SPOTLIGHT ON MOLLY AND HER MOTHER. MOLLY LEANS OVER AND CARESSES HER MOTHER’S CHEEK TENDERLY, STRAIGHTENS HER HAIR AND TUCKS HER BEDCLOTHES NEATLY AROUND HER, AS IF TUCKING HER IN FOR THE NIGHT. SHE LEANS OVER AND KISSES HER FOREHEAD.
AT THE SAME TIME A SPOTLIGHT LIGHTS UP ON JAKE SOMEWHERE IN THE OTHER END OF THE STAGE, SHOWING HIM AT THE POINT OF HIS MOTHER’S DEATH. HE IS SITTING QUIETLY AT A TABLE, POSSIBLY HIS DESK AT WORK. HE SITS MOTIONLESS LOOKING OUT INTO THE ‘BEYOND’.
THE END.
(ALTERNATIVE ADDITION TO THE END OF ACT ONE)
JAKE
Jake McGee here. Yes. What? Just a mo, I’m looking for better reception…
MOLLY PULLS OUT PHOTOS FROM THE BOX AND HOLDS THEM UP IN FRONT OF THEIR MOTHER’S FACE, ONE BY ONE... WHILE, ON THE BACK WALL, ONE SCREEN, THE PHOTOS COME UP. SOUL HAS MOVED TO BE ABLE TO LOOK AT THE SCREEN. THERE ARE PHOTOS OF THE MAN WHO WAS READING THE BOOK AT THE BEGINNING… IN OFFICER UNIFORM. THE SCEEN CHANGES AS THE LIGHTING DIMS ON MOLLY AND HER MOTHER AND SPOTLIGHTS SOUL AND GORDON.
SOUL
Gordon. You looked so gorgeous in your uniform. (pause) I remember.
AT THE SOUND OF HIS NAME, GORDON REAPPEARS ON STAGE AND STANDS, ARM AROUND SOUL AS THEY LOOK AT THE PHOTOS. THEN
GORDON STARTS SINGING AND WHIRLS HER AROUND IN A QUICK DANCE.
GORDON
Those were the days, my friend, I thought they’d never end…
THEY LAUGH.
GORDON
Lilly, you were the belle of the ball. I took one look around the dance floor and picked a winner, and it was you, and I that was the beginning of a wonderful love affair.
SOUL
You… and your gift of the gab… (SHE TOUCHED HIS FACE TENDERLY) It’s so good to see you again. I forgot how nice it was to love you.
THEY LOOK AT THE SCREEN.
GORDON
Do remember the day we went to the country and the old Vicar was sitting next to us on the train? We, gazing into each other’s eyes… and he,
SOUL
…how could I forget.. he was trying to be… subtle…
GORDON
(Laughing) fat chance….
SOUL
…..quizzing us. To see if we were married… in case we were running off…
GORDON
– to live in sin, or something…
THE SHOW OF PHOTOS IS OVER. LIGHTS GO DOWN.
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